Please 

handle  this  volume 

with  care. 

The  University  of  Connecticut 
Libraries,  Storrs 


mus,  ref 


ML     108.E493  1909 
Elson's  pocket  music  dictionary  : 


3   ^153    DlD33bEE    E 


Reference  Bovok 

OTTO  BETAKE  ^       W 
MUSI  :  ID"' 


Reiure   ce 
NOTTOBETA<  >M 

MUSIC  LIB 


_COOKS0N  MUSIC  MBRA'^Y 
STORRS.  CONNECT/CUT 


■'"''^^ciiiaM^    NOTATION. 


MUSIC  LIB bl All'' 

ELSON'S 

P  0  C  K  E  T   M  U  S  I  C 

DICTIONARY 


THE     IMPORTANT    TERMS    USED    IN     MUSIC    WITH 

PRONUNCIATION    AND    CONCISE    DEFINITION, 

TOGETHER     WITH     THE     ELEMENTS      OF 

NOTATION     AND     A     BIOGRAPHICAL 

LIST  OF  OVER  SEVEN   HUNDRED 

NOTED  NAMES  IN  MUSIC 


BY 

LOUIS  C.  ELSON 

Professor  of  Theory  of  Music  in  the 
New  England  Conservatory  of  Music 

COOKtON  iviUbiU  LibHARY 

UNlVERSiTY  OF  CONNECTiCUT 

STORRS,  CONNECTICUT 


OLIVER    DITSON    COMPANY 

THEODORE    PRESSER    CO..    DISTRIBUTORS 

BRYN  MAWR,  PENNSYLVANIA 
Copyright,   MCMIX,   by  Oliver  Ditson   Company 

Printed  in  the  U.S.A. 


PREFACE. 


TN  this  book  will  be  found  all  the  important  terms 
used  in  music  with  their  pronunciation  and  con- 
cise definition.  Where  clear  explanation  could  not 
be  given  in  a  few  words,  necessary  space  has  been 
taken. 

The  Italian  terminology  is  given  preference  to  a 
large  extent,  for  it  has  most  general  use.  (See  El- 
son's  Music  Dictionary,  note  on  page  302.)  In  this 
connection  it  may  be  stated  that  some  Italian  words 
are  quite  similar  to  their  English  equivalents  and 
can  be  easily  translated:  for  instance,  abbandono 
"  with  abandon,"  affabile,  "  affable,"  carezzando, 
"  caressingly,"  etc.  There  are  many  terminal  vari- 
ants in  Italian  words,  such  as  dolore,  dolente,  doloro- 
samente,  doleutemente,  etc.  In  a  condensed  work, 
such  as  this,  only  the  root-forms  are  given,  but  as 
many  as  possible  of  these. 

Where  compound  terms  are  not  given  look  up  the 
words  separately. 

For  practical  and  immediate  use  in  the  class-room, 
I  believe  that  the  little  volume  will  be  found  suf- 
ficient to  the  needs  of  the  teacher. 

LOUIS  C.  ELSON. 


THE  ELEMBN'TS  01    NOTATION. 

THE  STAFF. 

The  Staff  upon  which  music  is  written  consists  ol 
five  horizontal,  parallel  lines  and  the  four  inter- 
vening spaces.  Ledger  lines  are  added  to  extend 
the  Staff  above  or  below  as  needed. 


THE  GLEES. 

Clefs  are  placed  on  the  Staff  to  locate  the  position 
of  one  note,  from  which  the  positions  of  the  other 
notes  are  determined.  The  following  clefs  all  show 
the  position  of  Middle  C.  (See  Clef  in  body  of  the 
book.) 

F-Clef,  Bass         G-Clef,  Treble         C-Clef,  Tenor 
(modem  usage) 


M: 


I 


C-Clef,  Tenor  C-Clef,  Alto      OClef,  Soprano 


I 


m^ 


t 


The  Notes  and  Rests.  —  Note-heads  are  placed 
upon  the  Staff  to  represent  the  notes  proper,  giving 
the  pitch  of  the  note  by  their  position,  and  the  time- 
value  or  duration  of  the  note  according  to  their  shape. 
Characters  called  Rests,  with  corresponding  time- 
value  to  notes,  are  used  to  indicate  periods  of  silence, 
through  which  the  pulse  of  the  music,  however,  pro- 
ceeds. The  Double  Whole-Note  or  Rest  is  rarely 
seen  in  modern  music,  and  has  been  principally  con- 
fined to  church  music. 


Double  Double 

Whole-Note    Whole-Rest 


Whole- 
Note 


Whole- 
Rest 


4f^: 


^ 


Half- 
Note 


Half- 
Rest 


Quarter- 
Note 


Quarter 
Rest 


m 


THE  ELEMENTS   OF  NOTATION 


Eighth- 
Note 

Eighth- 
Rest 

Sixteenth- 
Note 

Sixteenth 
Rest 

Thirty- 

second- 

Note 

Thirty- 

second- 

Rest 

Sixty 
fourth- 
Note 

Sixty- 
fourth- 
Rest 

F        — « a 

fc 

a H 

^  — 

- — — ^— — — — ' 

•^ 

2— -Vi 

THE  SCALE. 

The  Scale  (or  ladder)  is  a  direct  succession  of  notes 
or  tones.  The  difference  between  these  consecutive 
notes  is  measured  by  Steps  and  Half-steps.  Scales 
are  classified  as  Major,  Minor,  Chromatic  or  Whole- 
tone  according  to  their  content  of  Steps  and  Half- 
steps.  There  are  two  forms  of  the  Minor  Scale  in 
common  use,  called  Harmonic  and  Melodic;  in  the 
latter,  the  notes  chromatically  raised  in  ascent  are 
restored  to  their  original  pitch  in  descent. 

In  the  following  examples,  the  Half-steps  occur- 
ring in  the  Natural  Scale  (C)  and  its  relative  minor 
(A)  are  indicated  by  ties  (^-^)  between  the  notes. 
Observe  the  Augmented  Second  between  the  6th 
and  7th  degrees  of  the  Minor  (Harmonic)  Scale,  in- 
dicated by  an  asterisk  (*). 


SCALE  FORMULAS. 

Diatonic. 
Major 


Minor  (Hannonic) 


THE   ELEMENTS   OF   NOTATION 
Chromatic. 


The  Chromatic  Scale  is  composed  exclusively  of  Half-steps. 
In  the  ascending  scale,  the  Half-step  succession  is  brought 
about  by  the  use  of  sharps  to  raise  certain  natural  notes;  in 
the  descending  scale,  flats  are  used  to  lower  certain 'natural 
notes. 

Whole  Tone. 


I 


^S 


^ 


fei 


The  Whole-tone  scale  is  only  used  in  ultra  modem  music. 
It  is  so  called  through  its  succession  of  Whole-steps  and  en- 
tire lack  of  Half-steps.  The  octave  is  divided  into  six  parts, 
in  two  divisions,  three  from  C  to  F#.  and  three  from  Gb  (En- 
harmonic equivalent  of  FS)  to  C  above. 


SCALES  IN  ALL  KEYS. 

The  Scale  Formulas  given  above  are  all  in  the 
Natural  Scale  (key  of  C) ;  but  'they  apply  to  scales 
built  on  any  Key-note.  Enforcing  the  formula  as  to 
succession  of  steps  and  half-steps  results  in  the  addi- 
tion of  sharps  or  flats  to  the  natural  notes.  These 
necessary  sharps  or  flats  instead  of  being  applied  to 
the  notes  as  they  occur,  are  placed  at  the  beginning 
of  the  staff  after  the  clef,  and  constitute  the  Key- 
signature. 

INTERVALS. 

An  Interval  is  the  measurement  of  distance  be- 
tween any  two  notes,  counted  by  degrees  on  the 
staff.  They  are  always  reckoned  by  counting  the 
lowest  note  one.  e.  g.,  from  c  to  d  is  the  interval  of 
a  second,  from  c  to  f,  a,  fourth,  etc.  Apart  from  their 
numerical  name,  Intervals  are  in  addition  classified 
as  Major,  Minor,  Perfect,  Augmented  and  Dimin- 
ished, according  to  their  notation  and  content  The 
following  table  of  Intervals  while  based  on  C,  estab- 
lishes a  measurement  for  corresponding  intervals  in 
any  position  or  key. 


THE  ELEMENTS   OF  NOTATION 

Intervals. 
Intervals  may  oe  either  Perfect,  Major,  Minor,  Augmented 


or  Diminished,  e.g. 

Primes 


Seconds 


i^pi^SP^^^^ 


Per.  Unison,  Aug. 
or  Prime 

Thirds 


Maj.     Min.      Aug. 


Fourths 


^^^^i^p^ 


Maj.     Min.     Dim.       Per.     Dim.     Aug. 
Fifths  Sixths  Sevenths 


^    "#         -•-      -«-        -«-      -W-       ■■»         ■■»-      ■■»■      J«- 


Per.Dim.Aug.Maj.Min.Aug.Maj.Min.Dim. 


Octaves 


I 


ife^ 


t=t 


■t*i 


Ninths 


:Ei 


h3 


Per.     Dim.     Aug.     Maj.     Min.    Aug. 


CHORDS. 

A  Chord  is  a  combination  of  three  or  more  notes 
sounded  simultaneously.  Chords  may  be  formed  on 
any  note  of  the  scale,  and  variously  classified,  as 
follows: 

Major  Mode. 


Primary  Triads  with  their  Inversions. 

Dominant 
Major 


Sub-Dominant 
Major 


1st  Inv.  2nd  Inv.     1st  Inv.  2nd  Inv. 
Secondary  Triads  (Inversions  as  above). 


1st  Inv.  2nd  Inv. 


Super-  Super-         Leading- 

Tonic  Mediant    Dominant         Note 

Minor  Minor         Minor       Diminished 


F=r 


^ 


VI 


THE   ELEMENTS   OF   NOTATION 


Minor  Mode. 
J*rimary  Triads  with  their  Inversions. 


Tonic 
Minor 


Dominant 
Major 


Sub-Dominant 
Minor 


;|^d^ 


:3t 


^^ 


Secondary  Triads  (Inversions  as  before). 

Super-  Super-         Leading- 

Tonic  Mediant     Dominant         Note 

Diminished    Augmented       Major      Diminished 


i 


r=s^ 


g=B 


Note:    The  Triad  on  the  sixth  degree  (Super-Dominant) 
often  called  Sub-^iediant. 


Dominant  Seventh  Chord  with  Inversions. 


Major 


Minor 


1st  Inv.  2nd  Inv.  3rd  Inv.     1st  Inv.  2nd  Inv.  3rd  Inv. 

The  Dominant  Seventh  Chord  is  the  Principal^ 
but  Secondary  Seventh  Chords  may  be  formed  on  all 
other  degrees  of  the  Major  and  Minor  Modes. 
Among  the  Secondary  Seventh  Chords  of  impor- 
tance may  be  mentioned  the  Diminished  Seventh 
Chord,  formed  on  the  Leading-Note  in  the  Minor 
Mode: 


Chords  of  the  Ninth. 

Chords  of  the  Ninth  are  formed  by  adding  the 
third  above  to  a  Seventh  Chord,  that  is,  the  Ninth 
from  the  Root.  The  Dominant  Ninth  Chord  is  in 
most  common  use: 

Major    Minor 


THE   ELEMENTS    OF   NOTATION 
Key-Signatures  with  the  Tonic  Triads. 

C  Major      A  Minor      G  ^Major      E  Minor 


D  Major    B  Minor    A  Major    Fjt  Minor 


E  Major    CS  Minor     B  Major     GS  Minor 


m 


^. 


^z 


r#  Major         D^  Minor 


^= 


F  Major 


D  INIinor     Bb  Major     G  Minor  k 


E'p  Major     C  Minor  Ab  Major     F  Minor 


S^ 


Db  Major      Bb  Minor  Gb  Major    Eb  Minor 


^m^^^^^m 


Time-Signatures. 

Simple. 
Duple  Triple 


^E^ 


i^i 


:H^L_2_ 


m 


Simple. 
Quadruple 


Compound. 
Duple 


^^ 


:or; 


±L 


-4 — Hznifciz: 


COMPOUXD. 

Triple  Quadruple 


The  lower  figure  shows  the  character  of  the  unit  of  which 
the  measure  is  composed.  The  upper  figure  denotes  the  nutw 
ber  of  said  units  into  which  the  measure  is  divided. 

viii 


THE   ELEMENTS   OF   NOTATION 

FUNDAMENTAL  TEMPO  MARKS. 
From  the  Slowest  to  the  Fastest. 

The  term   Moderato  may  be  considered  the  neutral  or  me 
dium  point  between  the  slowest  and  fastest  movements. 

Larghissimo  —  The  superlative  of  Largo.  Extremely  slow 
and  the  slowest  tempo  used. 

Largo  —  Very  slow  and  stately. 

Largamente  —  Quite  slow.     Broadly. 

Larghetto  —  Somewhat  faster  than  Largo,  of  which  term  it 
is  the  diminutive. 

Grave  —  8eriously,  solemnly.     Slower  than  Adagio. 

Lento  —  Slowly,  often  used  temporarily. 

Adagissimo  —  The  superlative  of  Adagio.  Slower  than 
Adryqio. 

Adagio  —  Slowly  with  great  expression. 

Adagietto  —  Slightly  faster  than  Adagio,  of  which  term  it  is 
the  diminutive. 

Andaatino  —  Rather  slower  than  Andante,  but  generally 
interpreted  as  slightly  faster. 

Andante  —  In  tranquil  or  quiet  time,  but  moving  (literally 
=' going"). 

Moderato  —  Moderately. 

Allegretto  —  With  some  animation,  but  less  than  Allegro, 
of  which  term  it  is  the  diminutive. 

Allegro  —  Lively,  animated  in  movement. 

Vivace  —  Vivaciously,  with  more  rapid  movement  than 
Allegro. 

Presto  —  With  great  rapidity. 

Prestissimo  —  With  extreme  rapidity,  the  superlative  of 
Presto,  and  the  fastest  tempo  used. 

These  terms  are  relative  and  do  not  indicate  an  absolute 
rate  of  speed.  They  must  therefore  be  interpreted  only  in  a 
general  way.  Exact  speed  can  be  mdicated  only  by  metronome 
marks. 

ACCELERATIONS. 

Accelerando  —  With  gradual,  though  definite,  increase  in 
speed. 

Affrettando  —  Hurriedly,  a  spasmodic,  or  temporary,  in- 
crease in  movement. 

Doppio  movimento  —  Double  movement.  Twice  as  fast  as 
the  previous  movement. 

Incalzando  —  With  growing  warmth  and  fervor, 

Piu  mosso  )  With  more  speed  of  movement  immediately,  but 

Piu  moto    i      steadily  when  assumed. 

Veloce  —  A  greatly  increased  speed  of  movement. 

Veiocissimo  —  With  the  utmost  velocity. 

Piit  means  more,  poco  a  poco,  little  by  little. 


RETARDATIONS. 

Allargando  —  Retarding  and  broadening,  gradually  or  sud- 
denly. 

Calando  —  Gradually  slower  and  more  subdued. 
Mancando  —  Decreasing  the  time  and  volume  of  sound. 
Meno  mosso  )  With    less    speed    of    movement  immediately, 
Meno  moto    j      but  steadily  when  assumed. 

ix 


THE   ELEMENTS   OF  NOTATION 

Molto  meno  mosso  —  Much  slower  than  the  previous  move- 
ment.    The  opposite  of  Doppio  Movimento. 

Morendo  —  Dying  away  by  degrees,  gradually  slower  and 
softer. 

Ritardando°  1  Slower  by  degrees,  without  decrease  of  volume. 
Ritenuto  —  Detained,  generally  for  a  short  period. 
Slenfando  I   R^'^'^^^^?  ^^^^  vigor  or  spirit  of  the  movement. 
Smorzando  —  Literally     "smothering."     Rapidly    diminish- 
ing the  time  and  volume. 

Strascinando  —  Dragging  the  movement. 
Tardando  —  Lingeringly. 
Trattenuto  —  Holding  back. 

Meno  means  less. 

Accelerations  of  tempo  often  presuppose,  and  generally  in- 
cite, an  increase  in  volume  of  sound.  Retardations,  on  the 
contrary,  oft-en  tend  toward  diminishing  the  volume,  but  judg- 
ment must  be  used  in  either  case,  according  to  the  term  used, 
and  the  musical  contest. 


ABBREVIATIONS  IN  GENERAL  USE 


A.  sec  p.  1 

accel accelerando 

accomp accompaniment  ' 

Adg"  or  Ad°.  .Adagio 

ad  lib ad  libitum 

affett" affettuoso 

affrctt" affrettando 

ag°  or  ag;t.  .  .agitato 

Air Allegro 

Allgetf Allegretto 

air  ott air  ottava 

al  seq    al  .segno 

And"" Andantino 

And** Andante 

Aniin" animato 

arc arcato,  or  coll' 

arco 
arp° arpeggio 

B.  see  p.  16 

B.  C.  or  Bass 

Con basso  continuo 

Bl Blaser 

Br Bratsche 

Brill brillante 

C.  see  p.  25 

cad cadenza 

cal calando 

calm calmato 

cantab cantabile 

C.  B contra  basso  or 

col  basso 

Cb Contrabasse 

c.  f canto  fermo 

'callo violoncello 

Ch choir  organ 

Clar clarinet 

Clar" clarino 

coir  ott.  or  0.8^*.  coir  ottava 

con  espr con  espressione 

Cor corno 

cresc crescendo 

C'** concerto 

c.  voc colla  voce 

D.  see  p.  45 

d destra,  droite 

D.  C da  capo 

D.  C.  S.  R.  .  .da  capo  senza 
replica,  or  senza 
ripetizione 

Dec decani 

decresc decrescendo 

Diap diapason 

dim diminuendo 

div divisi 

dol Holce 

dolciss dolcissimo 

dopp.  ped   .  . .  doppio  pedale 

D.  S dal  segno 

E.  see  p.  55 

esp.  or  espres.  espressivo 


Energ energico 

F.  see  p.  61 

f forte 

Fag fagotto 

ff fortissimo 

Hi f  ortississimo 

Fl flauto 

F.  O full  organ 

f p forte  piano 

f z.  or  f ortz . .  .  f orzato   or   for- 

zando 
G. see  p.  76 

G.  O great  organ 

Grand grandioso 

Graz° grazioso 

H.  see  p.  77 

Haut hautboy 

Hlzbl Holzblaser 

Hr.  or  Hm. . .  Horner 
I.  see  p.  82 

lacalz incalzando 

Intro Introduction 

L. see  p.  92 

leg legato 

lagg leggiero 

1.  h left  hand,  linke 

Hand 

lusing lusingando 

M.  see  p.  96 

Magg Maggiore 

mane mancando 

marc marcato 

m.  d ma,no  destra,  or 

main   droite 

men meno 

mez mezzo 

mf mezzo  forte 

m.  g  main  gauche 

M.  M Maelzel's   Met- 
ronome 
mod.  ormodto  moderato 

mor morendo 

mp mezzo  piano 

MS manuscript 

m.  s m  ano  sinistra 

Mus.  Bac.  or  Mus.  B. 

Bachelor   of 

Music 
Mus.  Doc.  or  Mus.  D. 

Doctor  of  Music 

m.  V mezza  voce 

O.  see  p.  107 

Ob oboe 

Obb obbligato 

Op Opus 

Opp Oppure 

Org organ 

Ott.,  O^S  or  8'».  ottava 

P.  seep.  112 

p piano 


XI 


ABBREVIATIONS   IN   GENERAL   USE 


p.  a.  p poco  a  poco 

Fed pedal 

Perd Perdendosi 

Pes Pesante 

P.  F PiCl  forte 

Piang Piangendo 

Pianiss Pianissimo 

Pizz Pizzicato 

PP Pianissimo 

PPP Pianississimo 

I-^a Prima  (volta) 

I™ Primo 

Ott,  ( Quartet 

^      (  Quintet 

R.  see  p,  122 

Rail Rallentando 

Recit.,orRec.  Recitative 
Rf.,rfz.,orrinf.  Rinforzando 
R.  H Right  Hand 

Rechte  Hand 

Ritar Ritardando 

Riten.  or  Rit.  .Ritenuto 
S.  see  p.  126 

Salic Salicional 

•iS:    A   Sign   from 

which  to  repeat 

Scherz Scherzando 

2** Seconda  (volta) 

2*° Secondo 

Seg Segue 

Sem.  or  Semp.  Sempra 

7" Septet 

6" Sextet 

Sf  z Sf  orzando 

Sinf Sinfonia 

Smorz Smorzando 

S.  R Senza    ripeti- 

zione 


S.S.  or  S.  sord  Senza  sordini 
Sos  or  Sos'. . .  Sostenuto 

Spir Spiritoso 

Stacc Staccato 

Stent Stentando 

St.  Diap Stopped  Dia- 
pason 

String String^endo 

Sw Swell  Organ 

Sym Symphony 

T.  see  p.  142 

T.  C Tre  corde 

Tem Tempo 

Tern.  1° Tempo  primo 

Ten Tenuto 

Timp Timpani 

Tr Trillo 

Tratt Trattenuto 

Trem Tremolando 

Tromb Trombi  Trom- 

boni 

T.  S Tasto  solo 

U Una 

U.  C Una  corda 

Unis Unisoni 

V.  see  p.  155 

Va Viola 

Var Variation 

Vc,  VcL Violoncello 

Viv Vivace 

Vo ) 

Vno >  Violino 

Viol» ) 

V.  S Volti  subito 

V" Violini 

See  also,  Trill,  Signs,  RestSt 
and  Repeats. 


VOWEL  SOUNDS  AND  THEIR  MARKINGS  AS  USED 

TO  INDICATE  PRONUNCIATION  IN 

THIS  DICTIONARY. 

a  as  in  ah;  a  as  in  hate; ^  as  in  at;  e  as  in  tree, 
S  as  in  eh;  i  as  in  pine;  i  as  in  pin;  6  as  in  tone;  6  as 
in  dove;  6  as  in  not;  Has  in  up;  ii  the  French  sound 
of  w. 


su 


ELSON'S  POCKET  MUSIC 
DICTIONARY 


A.     1.     The    sixth    tone    of    the    diatonic    major 
scale  of  C;   in  France  and  Italy  called  La. 

2.  The  first  note  of  the  natural  minor  scale 
(the  relative  of  C  major),  which,  as  the  older  scale, 
begins  on  the  first  letter  of  the  alphabet.     See  C. 

3.  The  note  from  which  the  orchestra  is  tuned. 
usually  sounded  by  the  oboe. 

A.  (It.)  (ah.)     By,  for,  to,  at,  in,  etc. 

Ab  (Ger.)  (ab.)     Off.     Used  in  organ  music. 

A  ballata    (It.)    (a  baWa-ta.)     In  the  style  of  a 

ballad. 
Abandon  (Fr.)  (a-banh-d6nh.)     Without  restraint. 
A  battuta  (It.)  (a  bat-^oo-ta.)     As  beaten;   strictly 

in  time. 
Abbandonatamente  (It.)   (ab-ban-do-na-ta-meri-t5.) 

Vehemently;  violently. 
Abbandono  (It.)  (ab-ban-do-n5.)     With  passionate 

expression ;  with  abandon. 
Abbellire   (It.)    (ab-b6l4ee-re.)     To  embellish  with 

ornaments. 
Abbreviation  marks.     For  abbreviations  in  notation 

see  Elsojis  Music  Dictionary. 
Abellimento    (It.)  (a-bSl-le-wen-to.)     A  decoration, 

ornament,  or  embellishment. 
Abendmusik  (Ger.)  (a-bSnd-moo-2i/c.)     Evening  or 

night  music;  serenade. 
Abgestossen    (Ger.)    (a6-ghS-stos-s'n.)      Detached, 

struck  otf,  staccato. 
Abkiirzung     (Ger.)    (d&-kiert-soong.)     Abridgment, 

abbreviation. 
Abnehmend  (Ger.)  (ob-nay-mend.)     Diminishing. 
Abrege    (Fr.)    (ah-bray-zhay.)     Abridgment;     also 

the  trackers  in  an  organ. 
Abstossen  (Ger.)  (a6-stos-s'n.)     Similar  m  manner 

of  performance  to  staccato. 
Abwechselnd    (Ger.)  (ab-veck-s'lnd.)     Alternating, 

changing.     In    organ    playing,    alternately;     in 

choir    singing,    antiphonally;     in    dance    music, 

change  of  movements. 
A  cappella  (It.)   (a  kap-peZ-la),     In  the  church  or 

chapel  style,  that  is,  vocal  music,  unaccompanied. 
A  capriccio   (It.)    (a    kap-preei-sho.)     In    a    capri- 
cious style;  according  to  the  taste  of  the  performer. 
1 


MUSIC   DICTIONARY 

Accarezzevole  (It.)  (ak-ka-r6t-2e/i-vt5-le.)  Bland- 
ishing;   in  a  persuasive  and   caressing  manner. 

Accelerando  (It.)  (at-chay-lay-mri-do.)  Acceler- 
ating the  time;  gradually  increasing  the  velocity 
of  the  movement. 

Accelerato  (It,)  (at-chay-lay-ra/i-to.)  Accelerated; 
increased  rapidity. 

Accent.  A  stress  or  emphasis  upon  a  certain 
note  or  passage  te  mark  its  position  in  the  meas- 
ure, or  its  relative  importance  in  regard  to  the 
composition. 

Accento  (It.)  {sit-tshen-to.)  Accent  or  emphasis 
laid  upon  certain  notes. 

Accentuare  (It.)  (at-tshgn-too-a-rS.)  To  accentuate; 
to  mark  with  an  accent. 

Accessory  notes.  Those  notes  situated  one  de- 
gree above,  and  one  degree  below  the  principal 
note  of  a  turn.  The  upper  note  of  a  trill  is 
also  called  the  accessory  or  auxiliary  note. 

Acciaecato  (It.)  (at-tshak-A:a-to.)  Brusquely,  for- 
cibly. 

Acciaccatura  (It.)  (at-tshah-ka-too-ra.)  A  very 
short  grace  note;  an  accessory  note  placed  before 
the  principal  note,  which  latter  takes  the  accent. 

Written.      Played. 


I 


The  acciaccatura  is  distinguished  by  a  light  di- 
agonal line  through  note  hook.  See  Appog- 
giatura. 

Accidentals.  Sharps,  flats,  naturals,  introduced 
apart  from  the  signature.     See  Chromatic  Signs. 

Accidental  chords.  Chords  containing  one  or 
more  notes  foreign  to  their  proper  harmony. 

Accompaniment.  The  secondary  parts  or  voices 
that  accompany  the  principal  parts  or  voices 
in  any  form  of  composition.  Most  accompani- 
ments are  necessary  to  the  general  effect,  but 
some  are  ad  lib.  and  can  be  omitted. 

Accompaniments,  Additional,  are  parts  added  to  a 
composition  by  an  editor,  generally  to  supply 
the  place  of  an  obsolete  instrument. 

Accopiato  (It.)  (ak-ko-pe-d-to.)  Bound,  tied,  joined 
together. 

2 


MUSIC   DICTIONARY 

Accord  (Fr.)  (iik-kQr.)  A  chord;  a  concord; 
consonance. 

Accordamcnto  (It.)  (ak-kSr-da-men-to.)  Con- 
sonance, unison,  harmony  of  parts. 

Accordatura  (It.)  (ak-k6''-da-^oo-ra.)  Concord,  har- 
mony. Also,  the  set  of  notes  to  which  the  open 
strings  of  an  instrument  are  tuned. 

Accordeon.  An  instrument  consisting  of  two 
oblong  sound  boxes  enclosing  metal  reeds;  the 
flexible  connection  between  the  two  boxes  form- 
ing a  bellows.  The  key-board  for  right-hand 
giving  a  diatonic  scale,  that  of  left  giving  a  few 
fundamental  basses  and  chords. 

Accrescendo  (It.)  {ak-ki6-shen-dd.)  Increasing; 
augmenting  in  tone  and  power. 

Acoustics  (Ger.  Akustik;  It.  Acustica;  Fr.  AcouS' 
tique.)  The  science  of  sound;  the  science  treat- 
ing of  the  laws  of  sound. 

Action.  The  mechanism  attached  to  the  keys  of 
a  piano  or  organ;  also,  the  mechanism  attached 
to  the  pedals  of  a  harp,  which  changes  the  pitch 
of  the  strings  b}'-  shortening  them. 

Acuta  (Lat.)  (ah-.^oo^-a.)  A  mixture  stop  in  the 
organ. 

Acute,     nigh,  in  reference  to  pitch. 

Adagletto  (It.)  (ah-dah-jiei-to.)  1.  A  short  adagio. 
2.  A  movement  soi^ewhat  less  slow  than  adagio. 

Adagio  (It.)  (ah-da/i-jio.)  Slow,  but  quicker  than 
largo  and  slower  than  andante. 

Adagio  assai  (It.)  (as-sa-^.)     \    y         , 

Adagio  di  molto  (It.)  ]    ^^^^  ^^°^- 

Addoiorato     (It.)     (ah-doh-lo-ra/i-toh.)     Sorrowful. 

A  demi  jeu  (Fr.)  (ad-mee-zhu.)  With  half  the 
power  of  the  instrument. 

A  demi  /oix  (Fr.)  (ad-mee  voo-wah.)  At  half 
voice;   whispered. 

A  deux  (Fr.)  (a-dw/i.)  For  two  instruments  or 
voices. 

A  deux  mains  (Fr.)  (ii-diih  manh.)     For  two  hands. 

Adiratamente  (It.)  (a-di-ra-tii-    ) 

wen-te.  /    Angrily,    stemly- 

Adirato  (It.)  (ad-i-ra-to  )  ) 

Adjunct  notes.     Unaccented  auxiliary  notes. 

Ad    libitum    (Lat.)     {Sid-lih-i-txim..)     At    will;     at 
pleasure;     changing    the    time    of    a    particular 
passage  at  the  discretion  of  the  performer;    also 
a  part  that  may  be  omitted  if  desired. 
3 


MUSIC  DICTIONARY 

A  due,  or  A  2  (It.)  (a  doo-&.)  For  two  voices  or 
instruments;  a  duet.  Also  used  to  indicate 
that  two  instruments  playing  from  the  same  part 
or  score  are  to  play  in  unison,  after  diuisi  or 
a  solo  passage  for  one  of  the  instruments. 

A  due  corde  (It.)  (a-doo-6  kdr-de.)  Upon  two 
strings;  the  soft  pedal  of  a  grand  piano  pressed 
half  way  down. 

A^dur  (Ger.)  (a  doer.)     The  key  of  A  major. 

il£olian  Harp.  A  simple  contrivance  of  sound- 
box and  strings  so  constructed  that  a  current 
of  air  sets  the  strings  in  vibration. 

Affabile  (It.)  (iif-/a-be-lg.)  In  an  affable  and 
pleasing  manner. 

Affabmta  (It.)  (af-fa-be-le-ta.)  With  ease  and  ele- 
gance; with  affability;  in  a  pleasing  and  agree- 
able manner. 

Affannato  (It.)  (af-fa-na-to.)     Sad,  distressed. 

Affannoso  (It.)  (af-fa-no-zo.)  With  anxious  ex- 
pression. 

Affettivo    (It.)    (af-f6t-ie-v6.)     Affecting;    pathetic. 

Affetto  (It.)  (af-/e/-t6.)  Feeling;  tenderness;  pathos. 

Affettuosamente  (It.)  (af-f6t-too-o-za-?/j€n-te.)  With 
tenderness  and  feeling. 

Afifettuoso  (It.)  (af-fet-too-o-zo.)  With  tender 
and  passionate  expression. 

Afflitto  (af-fleet-to.)  )     Sorrowfully;  with 

(It.)  ?       mournful  expres- 

Afflizione  (af-flee-tse-o-nS.)        )       sion. 

Affrettando  (af-fr6t-^ari-do.)  )  Hurrying;  quick- 
(It.)  >      ening;    accelerat- 

Affrettate  (af-fret-^d-tS.)  )      ing  the  time. 

After-note.        A    small    note    occm-ring    on    an 

unaccented     part     of     the        Written.     Performed. 

measure,    and    taking    its     p-y-f^-j 

time  from  the  note  preced-     '~^-'    - 

ing  it. 
Agevole  (It.)  (si-jeh-vo-\&.)  )   -r  •  u^i^. 

Agevohnente  (It.)  (a-jeh-vol-men-t6.)  \   ^^S^^^y^ 

easily;  with  agility. 
Agevolezza  (It.)  (a-jay-vo-Zay-tsa.)    Lightness, 

agility. 

Agilita  (It.)  (a-jeeZ-e-ta.)     Lightness,  agility. 
Agiliti,  con.   (It.)    With  agihty;  with  lightness;  with 

rapidity. 
Agitamento  (It.)  (a.-ie-ta-men-td.)    Agitation,  rest- 
lessness, motion. 

4 


MtrsiC  DICTIONARY 

Agitato  (It.)  (aj-i-^a-to.)     Agitated,  hurried,  restless. 

Agite  (Fr.)  (a-zhee-toi/.)     Agitated. 

Agnus  Dei  (Lat.)  (dg-nus  dd-e.)  Lamb  of  God; 
oue  of  the  movements  in  a  Mass. 

Agraffe.  A  metallic  support  of  the  string  in  a 
pianoforte,  between  the  pin  and  the  bridge, 
serving  to  check  vibration  at  that  part. 

Agrements  (Fr.  pi.)  (a-gray-manh.)  Embellish- 
ments applied  in  Harpsichord  or  Spinet  music. 

Ai  (It.)  (ae-.)     To  the;   in  the  style  of. 

Aigrement    (Fr.)     (agr-raanh.)     Sharply,    harshly. 

Aigu  (Fr.)  (a-gii.)     Acute,  high,  sharp,  shrill. 

Air.  A  short  song,  melody,  or  tune,  with  or  with- 
out words.  The  upper  voice  in  a  harmonized 
composition. 

Air  a  boire  (Fr.)  (ar-a-boo-war.)   A  drinking  song. 

Air  varie  (Fr.)  (ar-va-ri-ay.)  Air  with  variations; 
an  air  embellished  and  ornamented. 

Ais  (Ger.)  (ah-?S6\)     The  note  A  sharp. 

Aisement  (Fr.)  (ay-za-manh.)     Easily,  freely. 

Ajoutez  (Fr.)  (ah-zhoo-tay.)  Add.  Used  in  organ- 
music. 

Alberti  Bass.  A  species  of  bass,  the  chords  of  which 
are  taken  in  arpeggios  of  a  particular  kind; 
broken  chords. 

Album  leaf.     A  short  and  simple  piece. 

Alcuna  licenza,  con.  (It.)  (al-koo-na.  le-tschSn- 
tsa,  kon.)     With  a  little  license. 

Al  fine  (It.)  (al  fee-ne.)     To  the  end. 

Al  fine,  e  poi  la  coda  (al  fee-n&  a  po-e  la  fco-da.) 
After  playing  to  where  the  Fine  is  marked,  go 
on  to  the  coda. 

Al  (It.)  (al.) 

All.  (It.)  (al.) 

AUa  (It.)  (al-la.) 

Alle  (It.)  (al-16.) 

AgU  (It.)  (al-yee.) 

AUo  (It.)  (al-lo.) 

Alia  Breve  (It.)  (ill-la  brd-v&.)  This  was  originally 
I  rhythm,  so  called  from  the  fact  that  one  breve, 
or  double-whole-note,  filled  each  measure.  To- 
day the  term  is  more  generally  applied  to  f 
rh5rthm,  marked  ^. 

Alia  caccia  (It.)  (dZ-la  A;a/-tsha.)  In  the  style  of 
hunting  music. 

Alia  camera  (It.)  (aWa  kd-m^rd,.)  In  the  style  of 
chamber  music. 

5 


To  the;  in  the  style  or 
maimer  of. 


MUSIC  DrcnoNARY 

AUa  Cappella  (It.)  (aZ-la  kap-peWa.)  In  the  church 
or  sacred  style;  derived  from  Alia  Breve  style, 
the  measure  being  sub-divided,  also  unaccom- 
panied vocal  music.     See  AUa  Breve. 

Allargando  (It.)  (ah-lahr-^an-doh.)  Growing 
broader,  i.e.,  louder  and  slower. 

Alle  (Ger.)  (dZ-l6.)  All:  alle  Imtrumente,  all  the 
instruments;  the  whole  orchestra. 

Allegramente  (It.)  (al-lS-gra-men-tS.)  Gaily,  joy- 
fully, quickly. 

Allegretto  (It.)  {a\-\&-gret-t6.)  Rather  light  and 
cheerful  but  not  as  quick  as  Allegro. 

Allegrissimo  (It.)  (al-la-grjs-si-mo.)  Extremely 
quick  and  lively;  the  superlative  of  Allegro. 

Allegro  (Fr.  and  It.)  {al-ldy-gro.)  Quick,  lively; 
a  rapid,  vivacious  movement,  frequently  modi- 
fied by  the  addition  of  other  words  that  change 
its  expression:  as, 

Allegro  assai  (It.)  {sd-lay-gro  as-sd-e.)     Very  quick. 

Allegro  di  bravilra  (It.)  (al-Zd-gro  de  bra-yoo-rii.) 
Quick,  with  brilliant  and  spirited  execution. 

Allegro  di  molto  (It.)  (al-Zd-gro  di  rnol-io.)  Ex- 
ceedingly quick  and  animated. 

Allegro  giusto  (It.)  (al-Zd-gro  joos-to.)  Quick,  with 
exactness;  in  steady  and  precise  time. 

Allegro  moderate  (It.)  (al-Zd-gro  mo-d6-rd-to.) 
Moderately  quick.  For  various  other  modifi- 
cations of  Allegro  look  for  the  secondary  words. 

Alleluia  (Fr.)  (a,l-l&-loo-ya.)  Praise  the  Lord; 
Hallelujah. 

Allemande  (Fr.)  (all-manhd.)  A  Hvely  German 
dance  in  |  and  also  in  |  rhythm;  also  a  slow 
dance  or  melody  in  |  rhythm.  The  first  dance 
movement  in  the  old  suite. 

Alle  Saiten  (Ger.)  (alleh  zigh-ten.)  Tutte  Corde. 
All  the  strings.     Release  the  soft  pedal. 

All'  Espagnuola  (It.)  (al§s-pan-yoo-o-la.)  In  the 
Spanish  style. 

All'  Inglese  (It.)  (al  en-glay-z^.)  In  the  English 
style. 

All'  Italiana  (It.)  (al  e-ta-le-d-na.)  In  the  Italian 
style. 

AlimShlich  (Ger.)   (al-wd-llkh.)     Little  by  little. 

All'  Ongarese  (It.)  (al  on-ga.-ray-z&.)  In  the 
Hungarian  style. 

Allonger  (Fr.)  (al-l6nh-zhay.)  To  lengthen,  pro- 
long, delay. 

6 


MUSIC   DICTIONAKY 

Monger  I'archet  (Fr.)  (al-l6ah-zhay  lar-shay.) 
To  leng;;t.hen  or  prolong  the  stroke  of  the  bow 
in  violin  music. 

Allontandosi  (It.)  (al-on-/a^i-do-ze.)  Gradually  dis- 
appearing in  the  distance;  further  and  further 
away. 

Al  rigore  di  tempo  (It.)  (al  ri-go-re  di  lem-po.)  In 
very  vigorous  and  strict  time. 

A  la  Russe  (Fr.)  (a  la  rilss.)  In  the  Russian  style. 

Al  Segno  (It.)  (al  sen-yo.)     See  Dal  Segiw. 

Alt    (It.)    (alt.)     High.     This  term  is  '-^ 

applied  to  the  notes   wiiich   He  be-  r~^   ^'     1=^ 
tween  F  on  the  fifth  line  of  treble  1-^  — - 

staff  and  G  on  the  fourth  added  hne    *^ 
above. 

Al  Tedesco  (It.)  (al  t^-des-ko.)  In  the  German 
style. 

Altemativo  (It.)  (al-ter-na-^ee-vo.)  Alternating  one 
movement  with  another. 

Altgeige  (Ger .)  (d/Z-ghl-ghe.)     The  viola. 

Altieramente  (It.)  (al-te-€r-a-meAi-t6.)  With  gran- 
deur; haughtily. 

Altisono    (It.)     (aUe-so-no.)     Sonorous.  ^ 

Altissimo  (It.)  (aUees-se-mo.)  The  high- 
est; extremely  high  as  to  pitch.  It  is 
applied  to  notes  above  the  staff. 

Alto  (It.)  (al-to.)  High.  In  olden  days  an  arti- 
ficial or  head  voice  (counter-tenor)  was  culti- 
vated in  men,  and  this  voice  singing  the  high- 
est part  was  called  Alto;  in  modem  vocal 
terminology';  the  word  applies  to  the  lowest 
female  voice  ©r  unchanged  (young  boy's) 
voice,  which  is  of  about  the  same  range  and 
pitch.       Q  The      Viola     is     sometimes 

called    -^    \    ^—    the    Alto.     Alto   is   also  the 
name      J    J'  given  to  a  brass  instrument 

of  the  '^  Sax-hom  group,  standing  in 

El?,  a  fifth  below  the  B'?  Cornet,  and  with  about 
the  same  written  compass. 

Alto  clef.     The  C  clef  on  the  thu-d  line  of 
the  staff. 


^:i 


Alt'   ottava   (It.)    (alt  ot-ia-va.)     The  same  notes 

an  octave  higher. 
Altra  (It.)  (d/-tra.)    /    ^,v  ,, 

Altro  (It.)  (al-tv-o.)     \    ^^^^''  ^°°'-^^- 
Alzamento   (It.)    (al-tsa-?7ien-to.)     An  elevating  of 

the  voice;  liftmg  up. 

7 


MUSIC   DICTIONARY 

Alzando    (It.)    (al-fsan-do.)     Raising;     lifting    up. 

Amabile  (It.)  (a-ma-be-16.)  Amiable,  gentle,  grace- 
ful. 

Amabilita  (It.)  (a-ma-be-le-fa.)  Tenderness,  amia- 
bility. 

Amabilmente  (It."*  (a-ma-beel-??ien-te.)  Amiably, 
gently. 

Amaro  (It.)  (a-ma-ro.)  Grief,  bitterness,  afflic- 
tion. 

Ambrosian  Chant.  A  series  of  sacred  melodies 
or  chants  collected  and  introduced  into  the 
church  by  St.  Ambrose.     It  was  purely  diatonic. 

..onen  (Heb.)  (a-m6n.)  So  be  it.  A  word  used 
as  a  termination  to  psalms,  hymns,  and  other 
sacred  music. 

American  fingering.     See  Fingering. 

A  moll  (Ger.)  (a  m6ll.)     The  key  of  A  minor. 

Amore  (It.)  (a-mo-r6.)  Tenderness,  affection, 
love. 

Amore,  con.  (It.)  With  tenderness  and  affec- 
tion. 

Amore  vole  (It.)  (a-mo-ra-v6-l6.)  Tenderly,  gently, 
lovingly. 

Amorevolmente  (It.)  (a-mo-ra-v6l-men-tg.)  With 
extreme  tenderness. 

A  moresco  (It.)  (a  mo-res-ko.)  In  the  Moorish 
style;  in  the  style  of  a  Moorish  dance. 

Amorosamente  (It.)  (a-m5-ro-za-men-t6.)  In  a 
tender  and  affectionate  style. 

Amoroso  (It.)  (a-mo-ro-zo.)     See  Amorosamente. 

Amphibrach  (Gr.)  (Sm-fi-brak.)  A  musical  foot, 
comprising  one  short,  one  long  and  one  short 
note    or    syllable,   accented    and    marked    thus, 

An  {Ger.)  (ahn.)  On;  to;  in  organ  music,  draw,  or 
add. 

Anapest  (Gr.)  (an-a-p6st.)  A  musical  foot,  con- 
taining two  short  notes  or  syllables,  and  a  long 
one,  accented  and  marked  thus,  ^^  '^  — . 

Anche  (Fr.)  (anhsh.)  The  reed  of  the  oboe,  bas- 
soon, clarinet,  etc.;  also  the  various  reed  stopL 
in  an  organ. 

Ancora  (It.)  (an-/co-ra.)  Once  more;  repeat  again; 
also,  yet,  still,  etc. 

Andacht  (Ger.)  (an-dakht.)     Devotion. 

Andante  (It.)  (an-c?an-t6.)  A  movement  in  mod- 
erate time  but  flowing  easily,  gracefully.  An= 
8 


MUSIC  DICTIONARY 

dante    literally    means    "  going."     For    various 
qualifications  of   Andante  see  secondary  words. 

Andantmo  (It.)  (an-diin-iee-no.)  A  little  slower 
than  Andante  is  the  literal  meaning  of  Andan- 
tino,  but  it  has  become  a  doubtful  term,  and  is 
generally  used  as  meaning  quicker  than  Andante. 

Andare  (It.)  (ahn-da/i-rg.)     To  go;  go  on. 

Anfang  (Ger.)  (an-fang.)  Beginning,  commence- 
ment. 

Angemessen  (Ger.)  (ari-gh6-m&-s'n.)  Comfonn- 
able,  suitable,  fit. 

Angenehm  (Ger.)  (an-ghSn-aym.)  Agreeable, 
pleasing,  sweet. 

Anglaise  (Fr.)  (iinh-gldz.)     )    In  the  English  style; 

Anglico  (It.)  (an-glee-ko.)  J  a  tune  adapted  for 
an  English  air  or  country  dance.  It  has  been 
used  by  Bach  in  his  French  Suites.  It  some- 
what resembles  the  Hornpipe. 

Angoscia  (It.)  (an-^os-sha.)  J    . 

Angosciamente    (It.)     (an-gos-sha-men-tg.)     ) 
xiety,  anguish,  grief. 

AngstUch  (Ger.)  (eiigst-likh.)  Uneasy,  timid,  an- 
xious. 

Anhang  (Ger.)  (an-hang.)  A  coda;  a  postscript; 
an  appendix. 

Anima,  con.  (It.)  (ah-nee-mah.)  With  life  and 
animation.  It  can  also  be  applied  as  meaning 
"soulful";  thus  Chopin  uses  Lento  e  con  anima, 
as  "  slow  and  with  soul." 

Animato  (It.)  (an-e-7m-to.)  Animated;  with  life 
and  spirit. 

Anime  (Fr.)  (anh-e-may.)  Animated,  lively,  spir- 
ited. 

Animoso  (It.)  (an-e-mo-z5.)  In  an  animated 
manner;  lively,  energetic. 

Anlage  (Ger.)  (an-la-ghe.)  The  plan  or  outline 
of  a  composition. 

Anlaufen  (Ger.)  (an-lou-f'n.)  To  increase  in  sound; 
to  swell. 

Anleitung  (Ger.)  (an-li-toong.)  An  introduction; 
a  preface,  guidance,  instruction. 

Amnuthig  (Ger.)  (an-moo-tlg.)  Agreeable,  sweet, 
pleasant. 

Ansatz  (Ger.)  (aw-sats.)  The  embouchure  of  a 
wind  instrument;  the  setting  of  the  lips  of  a 
wind  instrument  player;  the  attack  of  a  vocal 
phrase. 

9 


MUSIC   DICTIONARY 

iinschlag   (Ger.)    (an-shlag.)     A  stroke;    the  per- 
cussion of  a  chord;    the  striking  of 
a  chord  or  key;  the  touch  in  piano 
playing;   a  double  grace  note. 

Anstimmen  (Ger.)  (an-stim-m6n.)  To  strike  up; 
to  begin  to  sing;  to  tune. 

Anstimmung  (Ger.)  (an-stlm-moong.)  Intonation, 
tuning. 

Answer  (Lat.  Comes;  Ger.  Gefdhrte;  Fr.  Response; 
It.  Riposta.)  The  response  to  the  subject  of  a 
fugue,  given  by  the  second  voice,  either  above  or 
below. 

Antecedent  (an-te-se-dSnt.)  The  subject  of  a 
fugue  or  of  a  canon;  the  first  phrase  of  a  musi- 
calperiod. 

Anthem.  A  vocal  composition,  the  words  of  which 
are  usually  selected  from  the  Bible,  used  in 
church  either  with  or  without  organ  accompani- 
ment. 

Antibacchius  (dn-ii-bdk-kl-T^.)  A  musical  foot  of 
three  syllables,  the  first  two  long  or  accented  and 
the  last  short  or  unaccented,  thus, •^. 

Anticipation.  One  or  more  harmonic  voices  or 
parts  moving  to  their  particular  position  in  a  new 
cnora,  m  aavance  of  the  other  parts,  or  the  accent. 

Antico  (it.)  (an-/e-k6.)     Ancient. 

Antiphon.     See  Antiphone. 

Antiphone  (Gr.)  (a/i-tMo-ne.)  The  response  made 
by  one  part  of  the  choir  to  another,  or  by  the 
congregation  to  the  priest  in  the  Roman  Catholic 
service;    also,  alternate  singing. 

Antithesis.  In  fugues,  this  term  is  applied  to  the 
answer. 

Antwort  (Ger.)  {ahnt-Yohvi.)    Answer. 

Anwachsend  (Ger.)  (an-vakh-sgnd..""  Swelling,  in- 
creasing. 

Aperto  (It.)  (k-pair-io.)  Open;  in  pianoforte 
music  it  signifies  that  the  damper  or  open  pedal 
is  to  be  pressed  down;  clear,  distinct;  (organ) 
open  pipe. 

Aphony  (a/-o-ny.)     Dumbness;  loss  of  voice. 

A  piacefe  (It.)  (a  pe-a-fs/iair-re.)     At  pleasure. 

Aplomb  (Fr.)  (a-pl6nh.)  Firm,  in  exact  time 
steadiness,  coolness. 

A  poco  (It.)  (a  po-ko.)     By  degrees;   gradually. 

A  poco  a  poco  (It.)  (a  po-ko  a  po-ko.)  By  little 
and  Httle. 

10 


MUSIC   DICTIONARY 


Apollo.  In  ancient  mythology,  the  god  of  music, 
and  said  to  be  the  inventor  of  the  lyre. 

Appassionatamente  (It.)  (ap-pas-  1 

se-o-na-tii-m^n-tg.)  Passionately; 

Appassionatamento  (It.)  (ap-pas-      with    intense 
se-o-nti-tPi-Tnen-to.)  emotion    and 

Appassionato    (It.)    (ap-pas-se-o-      feeling. 
nd-to. )  j 

Appenato  (It.)  (ap-pg-nd-to.)  Grieved,  distressed; 
an  expression  of  suffering  and  melancholy. 

Appoggiato  (It.)  (ap-pod-je-a-to.)  Leaning  upon; 
dwelt  upon;   drawn  out. 

Appoggiatura  (It.)  (ap-pSd-je-a-ioo-ra.)  Leaning 
note;  grace  note;  note  of  embellishment.  Ob- 
serve that  in  contradistinction  to  the  Acdac- 
catura,  there  is  no  diagonal  hne  through  the 
stem  and  hook. 

The  word  "  Appoggiare,"  to  lean  against,  accu- 
rately describes  the  character  of  this  long  grace- 
note.  It  is  one  of  the  most  charming  embel- 
lishments of  song  and  of  instrumental  music. 
The  character  of  the  appoggiatura  is  almost 
always  yearning,  sorrowful  or  tender.  The 
cause  of  writing  so  long  and  accented  a  note  as 
a  grace  note  lies  in  the  fact  that  the  appoggiatura 
is  almost  alwaj^s  extraneous  to  the  melodj 
and  to  the  harmony.  It  has  become  customary, 
in  recent  daj'^s,  to  write  the  appoggiatura  out  in 
full  notation.  Before  an  even  note  the  appog- 
giatura generally  receives  its  face  value,  i.e., 
one-half  the  value  of  the  note  which  follows. 
Before  a  dotted  note  it  receives  more  than  its 
face  value,  i.e.,  it  should  be  given  two-thirds  of 
the  value  of  the  following  note. 

^ — ev=^m 


MUSIC   DICTIONARY 

If  the  next  note  is  of  the  same  pitch  as  the  prin- 
cipal note  of  the  appoggiatura,  the  grace  note 

1^ ___  receives    the    entire 

-yf2   r^       ^     H—<»^^^^"=H  value    of    its    prin- 

^4      I      _| B-i —    I        Hcipal     note,    but    is 

*^  carried   to   the   next 

note  with  a  strong  portamento.  This  occurs 
chiefly  in  vocal  music. 

Apprestare    (It.)    (ap-pres-/a-rS.)     To    prepare,    or 

^  put  in  a  condition  to  be  plaj'^ed. 

Apre  (Fr.)  (apr.)     Harsh. 

A  ptinta   d'arco    (It.)    (a   poon-ta,  d'dr-ko.)     With 

^  the  point  of  the  bow. 

A  quatre  mains  (Fr.)  (a  katr-manh.)  For  four 
hands. 

Arabesque  or  Arabesk.  An  ornament,  or  an  em- 
bellished work.  From  the  Moorish  architecture 
which  was  much  ornamented. 

Arbitrio,  al  (It.)  (ar-6e-tre-o.)  At  the  will  or  pleas- 
ure of  the  performer. 

Arcato  (It.)  (ar-A;a-t6.)  Bowed;  played  with  the 
bow. 

Archet  (Fr.)  (ar-shay.)   )     .     •  ,•    , 

Arco  (It.)  (ar-ko.)  S    ^  ^^°^'^  ^°^' 

Ardente  (It.)  (ar-d!en-t6.)  With  fire;  glowing, 
vehement. 

Ardentemente  (It.)  (ar-den-te-7?ien-te.)  Ardently, 
vehemently. 

Ardito  (It.)  (ar-de-to.)     Bold;   with  energy. 

Ardor e  (It.)  (ahr-do-reh.)  Con  Ardore;  with  ardor 
and  warmth. 

Aretinian  syllables.     See  Solfaing. 

Aria  (It.)  (a-re-a.)  An  air;  a  song;  a  tune;  sung 
by  a  single  voice  either  with  or  without  an  ac- 
companiment. Generally  composed  of  two  con- 
trasting movements  or  divisions  (I  and  II), 
ending  with  a  literal  or  elaborated  repeat  of 
Div.  I.  The  aria  first  developed  into  shape 
in  the  early  operas. 

Aria  buffa  (It.)  (d-re-a  boof-ia,.)  A  comic  or  hu- 
morous air. 

Aria  cantabile  (It.)  (d-re-a-kan-^d-be-16.)  An  air 
in  a  graceful  and  melodious  style. 

Aria  concertata  (It.)  (d-re-a  k5n-tsh6r-^d-ta.)  An 
air  with  orchestral  accompaniment  in  a  Con- 
certante  style;  a  concerted  air. 

Aria  di  bravura  (It.)  (d-re-a  de  bra-yoo-ra.)  A 
12 


MUSIC  DICTIONARY 

florid  air  in  bold,  marked  style  and  permitting 
great  freedom  of  execution. 

Aria  fugata  (It.)  (a-re-a  foo-ga-ta.)  An  air  ac- 
companied in  the  fugue  style. 

Aria  parlante  (It.)  (d-re-a  piir-ldn-t&.)  An  air  in 
the  declamatory  style;   a  recitative  a  tempo. 

^iL''(^.rr':yr(i5«n,|A-orso„gs. 

Arietta  (It.)  (a-re-ei-ta.)  1 

Arietta  (Fr.)  (a-re-6t.)  [  A  short  air  or  melody. 

Ariettina  (It.)  (a-rc-6t-/e-na.)  J 

A  rigore  del  tempo  (It.)  (a  re-gd-T&  dSl  ^e??i-po.) 
In  strict  time. 

Ariosa  (It.)  (a-re-o-za.)  In  the  movement  of  an 
aria  or  tune. 

Arioso  (It.)  (d-re-o-zo.)  Melodious,  graceful;  a 
short  piece  in  the  style  of  an  aria,  but  less  sym- 
metrical in  construction. 

Annoneggiare  (It.)  (ar-m5-ngd-je-d-r6.)  To  sound 
in  harmony, 

Armonica  (It.)  (ar-mo-ne-ka.)  The  earliest  form 
of  the  accordion;  a  collection  of  musical  glasses, 
so  arranged  as  to  produce  musical  effects. 

Armoniosamente  (It.)  (ar--md-ne-o-za-meri-t6.)  Har- 
moniously. 

Armonioso  (It.)  (ar-mo-ne-o-z6.)  Concordant,  har- 
monious. 

Arpa  (It.)  (dr-pa.)     The  harp. 

Arpa  doppia  (It.)  (dr-pii  dop-pe-a.)  The  double 
action  harp;  it  meant  formerly  a  harp  with 
two  strings  to  each  note. 

Arpeggiando  (It.)  (ar-ped-je-  |      j^^^;^   p,^y^j   ^^. 

Ar"paggmio  (It.)  (ar-ped-i^  &X°hirp.'"'"^"°" 
a-to.i  J  ^ 

Arpeggiare  (It.)  (ar-ped-je-d-rS.)  To  play  upon 
the  harp. 

Arpeggio    (It.)    (ar-pe(i-je-o.)     Playing    the    notes 


of  a  chord  consecutively  (harp  style).     In  piano 
music  the  rapid  arpeggio  is  abbreviated  in  no- 
tation by  drawing  a  wavy  line  before       ^  ^J 
the    chord.     The    arpeggio    beginning  E^'.:i«^ 
on  the  accent,  and  with  lowest  note. 
13 


MUSIC   DICTIONARY 

Arrangement.  The  selection  and  adaptation  of  a 
composition  or  parts  of  a  composition  to  instru- 
ments for  which  it  was  not  originally  designed, 
or  for  some  other  use  for  which  it  was  not  at 
first  written. 

Arsis  (Gr.)  (dr-sls.)  The  upstroke  of  the  hand 
in  beating  time.  The  light  accent  of  the  meas- 
ure. Not  employed  by  musicians  in  the  same 
sense  that  it  is  used  in  poetry.     See  Accent. 

Articolato  (It.)  (ar-te-ko-/a-t6.)  Articulated;  dis- 
tinctly enunciated. 

Artificial  Harmonics.  Tones  produced  on  a  string; 
the  vibrating  length  of  which  has  been  tempo- 
rarily fixed  by  stopping:   See  Harmonics. 

As  (Ger.)  (as.)     The  note  A  flat. 

Asas,  Ases  (Ger.)  (as-as,  as-az.)  The  note  A 
double  flat. 

As  dur  (Ger.)  (as  doer.)  The  key  of  A  flat 
major. 

As  moll  (Ger.)  (as  moll.)     The  key  of  A  flat  minor. 

Asperges  me  (Lat.)  (3,s-per-ggs  ma.)  The  open- 
ing of  the  Mass  in  the  Catholic  service.  Not  a 
number  of  the  musical  Mass  itself,  but  sung 
during  the  purification  of  the  altar  at  the  be- 
ginning of  the  service. 

Asprezza  (It.)  (as-pred-sa.)  Roughness,  dryness, 
harshness. 

Assfii  (It.)  (as-sa-e.)  Very,  extremely;  in  a  high 
degree,  as  Allegro  Asedi,  very  quick. 

iissai  pia  (It.)  (as-sd-e  pee-oo.)     Much  more. 

Assez  (Fr.)  (as-say.)     Enough,  sufliciently. 

Assoluto  (It.)  (as-so-loo-to.)  Absolute,  free,  alone, 
one  voice. 

Assonanz    (Ger.)    (as-s6-nanfs )    )    similarity,     or 

Assonanza  (It.)  (as-so-nan-tsa.)     )  . 

consonance  of  tone. 

A  tempo  (It.)  (a  <^m-po.)  In  time;  a  term  used 
to  denote  that  after  some  deviation  or  relaxa- 
tion of  the  tempo,  the  performer  must  return 
to  the  regular  tempo. 

Athemlos  (Ger.)  (d-t§m-los,)     Breathlessly. 

Attacca  (It.)  (at-fdfc-ka.)     Go  on.     Begin  the  next. 

Attacca  subito  (It.)  (at-tdfc-ka  soo-he-tb.)  Attack  or 
commence  the  next  movement  immediately. 

Attack.     The  method  or  clearness  of  beginning  a 
phrase.     The  term  is  apphed  to  solo  or  concerted 
music,  either  vocal  or  instrumental. 
14 


MUSIC   DICTIONARY 

Attendant  keys.  Those  scales  having  most  sounds 
in  common  with  the  scale  of  any  gi\*en  key; 
the  relative  keys.  In  C  major  the  attendant 
keys  are:  its  relative  minor  A,  the  dominant 
G,  and  its  relative  minor  E,  the  sub-dominant  F, 
and  its  relative  minor  D. 

Atto  (It.)  (a/-t6.)     An  act  of  an  opera  or  play. 

Aubade  (Fr.)  (o-bad.)  Morning  music;  a  morn- 
ing concert  in  the  open  air. 

Audace  (It.)  {a.-00-dd-tsh^.)  Bold,  spirited,  au- 
dacious. 

Auf  (Ger.)  (ouf.)     On,  upon,  in,  at,  etc. 

Auf  dem  Oberwerk  (Ger.)  (ouf  d6m  o-b6r-vark.) 
Upon  the  upper-work  or  highest  row  of  keys  in 
organ  plaj'ing, 

Auffiihrung  (Ger.)    (ow/-fear-roong.)     Performance. 

Aufgeregt  (Ger.)  (oM/-g6-raygt.)  With  agitation, 
excitedly. 

Aufgeweckt  (Ger.)  (ou/-gh6-v6kt.)  Lively, 
sprightly,  cheerful,  wide  awake. 

Aufhalten  (Ger.)  (au/-hal-t'n.)  To  stop;  to  re- 
tard; to  keep  back. 

Aufstrich  (Ger.)  (ow/-streekh.)     An  upbow. 

Auftakt  (Ger.)  (oM/-takt.)     The  arsis;   the  up-beat. 

Augmentation.  Writing  a  theme  or  melody  in 
notes  of  longer  duration  than  the  original  presen- 
tation. 

Augmented  intervals.    Those      perfect  nfth     Augmented  eub 
which  are  larger  by  a  half- 
step  than  major  or  perfect 
intervals;    as, 

A  iina  corda  (It.)  (a  00-na  fcor-da.)  The  soft  pedal, 
in  piano  playing;  one  string. 

Aus  (Ger.)  (ous.)  From;  out  of. 

Ausdruck  (Ger.)  (ous-drook.)     Expression. 

Ausdrucksvoll  (Ger.)  (ous-drooks-foll.)  Expres- 
sive. 

Ausgabe  (Ger.)  (ows-ga-bS.)     Edition. 

Ausgehalten    (Ger.)     (ous-ghS-hal-t'n.)     Su.stained. 

Ausgelassen  (Ger.)  (ous-gh^lds-s'n.)  Wild,  un- 
governable, with  abandon. 

Aushalten  (Ger.)  (ous-hal-t'n.)  To  hold  on;  to 
sustain  a  note. 

Authentic  cadence.     The  old  name  for  a  perfect 
cadence;   the  harmony  of  the  dominant  followed 
by  that  of  the  tonic,  ©r  the  progression  of  the 
dominant  to  the  tonic.     See  Cadence. 
15 


MUSIC   DICTIONARY 

Authentic  mode.  A  church  mode  or  scale  in  which 
the  final  or  key-note  was  the  lowest  tone. 

Auxiliary  notes.  Notes  (generally  grace)  imme- 
diately above  or  below  a  principal  or  harmonic 
note. 

Ave  (Let.)  (a-v6.)     Hail. 

Avec  (Fr.)  (a-ve/c.)     With. 

Ave  Maria  (Lat.)  (a-ve  ma-ree-a.)  Hail,  Mary. 
A  hymn  or  prayer  to  the  Virgin  Mary. 

Ave  Maris  Stella.  (a-v6  ma-ris  stel-\k.)  A  hymn 
of  the  Catholic  Church,  the  words  meaning, 
"  Hail,  Star  of  the  Sea." 

Ave  Regina  (Lat.)   (a-vg  rS-^e-na.)     Vesper  hymn 

,  to  the  Virgin. 

A  volonte  (Fr.)  (a  vo-l6nh-ia.)     At  will;  at  pleasure. 

B 

B.  The  seventh  note  in  the  scale  of  C.  It  is  called 
Si  in  France  and  Italy,  ard  H  in  Germany. 
The  Germans  use  the  letter  B  to  designate  B 
flat.  As  the  flat  came  from  the  letter  B  the 
Germans  still  call  flats  "  B's."  See  Flat,  Sharp, 
Natural. 

Babillage  (Fr.)  (ba-biy-ahg.)     Playful  chatter. 

Bachelor  of  Music.  The  first  musical  degree  taken 
at  the  universities. 

Badinage  (Fr.)  (ba-dl-nazh.)  Playfulness,  spor- 
tiveness. 

Bagatelle  (Fr.)  (bSg-a-tSl.)  A  trifle;  a  toy;  a  short 
easy  piece  of  music. 

Bagpipe.  An  instrument  of  great  antiquity.  One 
or  more  reed  pipes  are  attached  to  a  wind  bag 
or  bellows.  The  most  elaborate  bagpipes  are 
the  Irish  and  Scotch,  the  latter  having  three  or 
four  drone  or  single  note  pipes  and  a  "  chanter," 
or  fingered  pipe,  for  the  melody. 

Baldamente  (It.)  (bal-da-men-tS.)     Boldly. 

BaMbile  (It.)  (bal-^-bee-lS.)  In  the  style  of  a  dance. 

Ballad.  A  short,  simple  song  of  natural  construc- 
tion, usually  in  the  narrative  or  descriptive  form. 
It  formerly  had  a  wider  signification  and  was 
applied  to  music  set  to  a  romance  or  historical 
poem,  and  also  to  a  light  kind  of  music  used  both 
in  singing  and  dancing. 

Ballade  (Ger.)  (bal-Za-de.)     )   A    dance;     dancing: 

Ballata  (It.)  (bal-Za-ta.)         )   also  a  Ballad. 
16 


MUSIC  DICTIONARY 

Ballerino  (It.)  (bal-16-ree-no.)  A  dancing  master; 
a  male  dancer. 

Ballet  (Fr.)  (ba-la.)  )    A   theatrical   represen- 

Balleto  (It.)  {ha\-let-t6.)  )  tation  of  some  story 
by  means  of  dances  or  pantomimic  action  ac- 
companied with  music. 

Ballo  (It.)  (6dM6.)     A  dance  or  dance  tune. 

Band.  A  number  of  instrumental  performers 
playing  together,  generally  wood-wind,  brass 
and  percussion  instruments. 

Band-master.  The  leader  or  conductor  of  a  band, 
generally  military. 

Bandola  (Spa.)  (ban-Jo-la.)  An  instrument  re- 
sembling a  lute. 

Bandurria  (Spa.)  (ban-door-re-a.)  A  species  of 
Spanish  guitar;   a  Bandora. 

Banjo.  The  typical  instrument  of  the  American 
Negro;  consisting  of  an  elongated  neck  and  fret- 
ted finger-board  attached  to  a  circular,  parch- 
ment covered  body,  over  which  the  five  strings 
are  vibrated. 

Bar.  Lines  drawn  perpendicularly  across  the  staff 
to  divide  it  into  measures;  the  term  is  also  ap- 
plied to  each  of  these  measures  by  European 
usage,  but  strictly  the  bar  is  the  line  itself,  not 
the  measure  it  defines.  The  bar  came  into  use 
in  music  after  1600. 

Barcarola  (It.)  (bar-ka-ro-la.)    i   A  song  or  air  sung 

Barcarolie  (Fr.)  (bar-ka-rol.)  )  by  the  Venetian 
gondoliers,  or  boatmen,  while  following  their  voca- 
tions;  it  is  generally  in  |  time. 

Bar,  double.  Heavy  Unes  dra^^Ti  across  the  staff  to 
divide  off  different  parts  of  the  movement  or 
show  the  end  of  the  piece.  Dots  either  side  of 
the  double  bar  show  that  the  preceding  or  fol- 
lowing measures  are  to  be  repeated. 

Bariolage  (Fr.)  (bSr-ee-o-lazh.)  A  passage  for  the 
violin,  etc.,  in  which  the  open  strings  are  more 
especially  used;  a  group  of  notes  on  several 
strings  played  in  the  same  position;  a  Cadenza; 
a  Medley. 

Bariton  (Fr.)  (ba-r!-f on/i.)        )      A  male  voice  in- 

Baritono  (It.)  (ba-re-io-no.)     >      termediate  (in 

Baritone.                                   )      respect    to    pitch) 
between    the    bass    and    tenor,                      w^ 
the  compass  usually    extending      cs^          £=3 
from:  F^    J  ^ 1 

17 


MUSIC  DICTIONARY 

Also  a  brass  instrument  in  Sax-horn  group,  stand- 
ing an  octave  belew  Bb  Comet,  and  with  similar 
compass. 

Barocco  (It.)  (ha-rdk-kd.)      )    A   term    applied   to 

Baroque  (Fr.)  (ba-refc.)  f    music  in  which  the 

harmony  is  confused  and  abounding  m  unnatural 
modulations;   eccentric;   bizarre. 

Bane  (Fr.)  (bar-ra.)  In  guitar  playing,  a  tem- 
porary nut  formed  by  placing  the  forefinger  of 
the  left  hand  across  some  of  the  strings. 

Barrel  organ.  An  organ,  the  tones  of  which  are 
produced  by  the  revolution  of  a  cylinder.  See 
Orchestrion. 

Baryton  (Fr.)  (ha-n-ldnh.)     See  Baritone. 

Base.    /    The  lowest  or  deepest  male  voice;    the 

Bass.  )  lowest  part  in  a  musical  composition. 
See  Voice.     Also  i:he  deepest  Sax-horn. 

Bassa  (It.)  (6ds-sa.)  Low,  deep;  8va  bdssa;  play 
the  notes  an  octave  lower. 

Bass  bar.  A  strip  of  wood  on  the  inside  of  a  violin, 
etc.,  running  under  the  lower  string. 

Bass  clef.  The  base  or  F  clef,  placed  upon  the 
fourth  line.     See  Clefs. 

Bass,  double.  The  double  bass  viol;  the  contra 
bass. 

Basset  horn.  (It.  Corno  di  Bassetto.)  An  ob- 
solete instrument  of  the  clarinet  family  similar 
in  shape,  tonal  quality  and  compass  to  the  modem 
Bass  clarinet. 

Bass,  fundamental.  The  bass  which  contains  the 
roots  of  the  chords  only. 

Bass,  given.  A  bass  to  which  harmony  is  to  be 
added  above. 

Bass,  ground.  A  bass  consisting  of  a  few  notes  or 
measures  containing  a  subject  of  its  own  repeated 
throughout  the  movement,  and  each  time  ac- 
companied by  a  new  or  varied  melody. 

Basso  (It.)  (basso.)  The  lowest  male  voice;  the 
bass  part;  the  contra-bass;   an  8-foot  organ  stop. 

Basso  buffo  (It.)  (6as-so  boof-io.)  A  humorous 
bass;   a  musical  comedian  of  bass  register. 

Basso  cantante  (It.)  (6as-so  ka.n-tdn-t&.)  A  bass 
voice  of  baritone  quality;   a  lyric  bass. 

Basso  concertante  (It.)  (:bds-s6  kon-tshgr-fa/i-t6.) 
The  principal  bass;  also,  the  lighter  and  more 
delicate  parts  performed  by  the  violoncello  or 
bassoon. 

18 


MUSIC   DICTIONARY 

Basso  continuo  (It.)  {bds-sd  kQn-/e-noo-o.)  The 
continued  bass;  a  bass  that  is  figured  to  indi- 
cate the  harmony. 

Basso  ostinato  (It.)  (basso  os-te-na-to.)  A  ground 
bass;    a  single  bass  figure  constantly  repeated. 

Bassoon  (Ger.  Fagott,  It.  Faggotto.)  1.  A  double 
reed  wind-instrument  of  deep  pitch,  with  a  com- 
pass of  about  three  octaves.  The  bassoon  or- 
dinarily forms  the  bass  of  wood  wind-instruments, 
and   is   capable   of  excellent 


independent     effects.      It    is 
often    used    for    comical    or 


b^ 


^^=^m 


grotesque  effects.     2.   A  reed 

stop  in  the  organ  which   unitates  the  tones  of 

the  bassoon. 

Bass  trombone.  A  trombone  with  a  compass  ex- 
tending from  C  below  the  bass  staff  to  the  E 
above. 

Bass  tuba  (Lat.)  (bass  too-ha..)  A  brass  wind  in- 
strument, the  lowest  in  pitch  -^ 

of  the  Sax-horn  family.     The   F^       ~         .       - 
tone  is  powerful  and  impres-   E^^^^T — ^  ■ 

sive,   the    compass  is  as  fol-  rt     3 

lows:  b-^-or*- 

Baton  (Fr.)  (Bah-tong.)     A  conductor's  stick. 

Batterie  (Fr.) (bat-tree.)  The  roll  of  the  drum; 
also  the  percussion  instruments  of  an  orchestra 
collectively. 

Battuta  (It.)  (Bii-too-tah.)  A  beat;  a  measure  or 
bar;   A  Battuta,  in  strict  time. 

B  dur  (Ger.)  (Ba  doer.)  The  key  of  B  flat 
major. 

Bearbeitet  (Ger.)  (b6-ar-bi-t5t.)   Arranged;  adapted. 

Beat.  The  rise  or  fall  of  the  hand  or  baton  in 
marking  the  divisions  of  time  in  music;  an  im- 
portant musical  embellishment,  consisting  of  the 
principal  note  and  the  note  below  it,  resembhng 
a  short  trill;  a  throbbing  which  is  heard  when 
two  tones  are  slightly  out  of  unison. 

Bebung  (Ger.)  {bay-hoong.)  A  shaking;  a  vibra- 
tion; a  German  organ  stop. 

Becken  (Ger.)  (bek'n.)     Cymbals. 

Be  (Ger.)  (ba.)  Flat,  b  flat. 

Begleiten  (Ger.)  (be-^Zl-t'n.)     To  accompany. 

Bel  canto    (It.)    (bell-A;a/in-to.)     Literally,    "  beau- 
tiful song."     In  one  sense  it  can  be  applied  to 
all  good  singing,   but,   practically,   it  means  a 
19 


MUSIC   DICTIONARY 

tender,   pure,   and  sympathetic  legato,   the  op- 
posite of  bravura  singing. 

Belieben  (Ger.)  (b&-/e-b'n.)     Pleasure;   at  pleasure. 

Bell.  A  hollow  metal  instrument,  set  in  vibra- 
tion by  a  clapper  inside  or  a  hammer  outside. 
Tubular  chimes  have  been  substituted  with 
some  success  for  regular  bells.  The  small  scale 
or  chime  of  bells  used  in  the  orchestra  is  called 
Glockenspiel.  The  flaring  end  of  the  tube  of 
various  wind  instruments  is  called  the  bell. 

Bellezza  (It.)  (bel-let-sa..)  Beauty  of  tone  and  ex- 
pression. 

Bell  gamba.  A  gamba  stop  in  an  organ;  the  top 
of  each  pipe  spreading  out  like  a  bell. 

Bellicosamente  (It.)  (bel-le-ko-za-me/i-tg.)  (    jr,     o 

BelHcoso  (It.)  (b6l-le-/co-zo.)  f     ^^     ^ 

martial  and  warlike  style. 

Bellows.  A  pneumatic  appendage  for  supply- 
ing organ  pipes  with  air. 

Belly.  The  sound-board  of  an  instrument;  that 
part  over  which  the  strings  are  distended. 

Bemol  (Fr.)  (ba-mol.)     (  rp,  ,       ■,..       n  ,  ... 

Bemolle  (It.)  (ba-m6l.)  (  ^^^^  ^"^^^  ^^^^^^  ^  ^^'  '^''^* 

Ben  (It.)  (ban.)         I     ,y  ,,  i 

Bene  (It.)  (6a-ne.)     \    ^^^^^'   ^°°^- 

Benedictus  (Lat.)  (b^-ne-dik-tHs.)  One  of  the 
movements  in  a  Mass. 

Bene  placito  (It.)  (5e-n6  pZd-tshe-to.)  At  will;  at 
pleasure. 

Ben  marcato    (It )  (bSn  mar-A:a-t6.)     I  ^y^^  ^^^j^^ 

Bene  marcato  (It.)i6a-ne  mar-^-a-to.)  S 

in  a  distinct  and  strongly  accented  manner. 

Be  quadro  (It.)  (bay  gwa-dro.)  /The  mark  called  a 

Bequarre    (Fr.)    (bay-kar-ra.)  (    natural  (tj). 

Bequem  (Ger.)  (h^-quaim.)     Convenient. 

Berceuse  (Fr.)  (bair-says.)  A  cradle  song;  a  lul- 
laby. 

BerfoSisr  ^^^'^  (bgr-ga-mas-ka.)  |  a  kind  of  rustic 
dance.  Used  in  Shakespeare's  "  Midsummer 
Night's  Dream." 

Bes  (Ger.)  (bes.)  The  note  B  double  flat,  Bbl?, 
also  called  Doppel  B,  or  66. 

Bestimmt  (Ger.)  i^^steemt.)  With  decision.  Dis- 
tinct. 

Betonend  (Ger.)  (b6-^o-ngnd.)    )     A^ppnt^ 

Betont  (Ger.)  {h^tont.)  ]   ^ccentea. 

20 


MUSIC   DICTIONARY 

Betriibt  (Ger.)  (b&-truht.)     Afflicted,  grieved. 

Bewegung  (Ger.)  (bg-m-goong.)  Motion,  move- 
ment. 

Bewegt  (Ger.)  (b^vdgt.)     Moved;   rather  fast. 

Binary.  Two-fold.  Binary  form,  —  a  form  of 
two  divisions,  periods,  or  sections. 

Binary  measure.     Two  beats  to  a  measure. 

Bis  (Lat.)  (bis.)  Twice;  indicating  that  the  pas- 
sage marked  (a  few  measures  only)  is  to  be  re- 
peated. It  may  mean  a  subdivision  of  some  sec- 
tion or  number  of  a  musical  work,  as  1  bis,  2  bis, 
etc. 

Bizzarramente  (It.)  (bIt-sar-ra-men-tS.)  Oddly; 
in  a  whimsical  style. 

Bizzarria  (It.)  (bit-sar-ree-a.)  Written  in  a  ca- 
pricious, fantastic  style;  sudden,  unexpected 
modulations. 

Bizzaro  (It.)  (bit-sar-ro.)  Whimsical,  odd,  fan- 
tastical. 

Blas-musik  (Ger.)  (blds-moo-zek.)  Music  for  wind 
instruments. 

Blasen  (Ger.)  (bld-z'n.)     To  blow;  to  sound. 

Blech-instrumente  (Ger.)  (bl6kh-in-stroo-men-t6.) 
The  brass  instruments,  as  trumpets,  trombones, 
etc. 

Blockflote  (Ger.)  (bldk-^6-t&.)  An  organ  stop  com- 
posed of  large  scale-pipes,  the  tone  of  which 
is  full  and  broad. 

Bluette  (Fr.)  (blu-et.)  A  short,  brilliant  piece. 
The  word  means  a  spark,  or  a  flash. 

B-mol  (Fr.)  (bay-mol.)  The  character  called  a 
flat  (b).     See  Bemol. 

B-moll  (Ger.)  (bay-mol.)     The  key  of  B-flat  minor. 

Bocca  (It.)  (bok-ka,.)  The  mouth-piece  of  a 
horn,  trumpet,  trombone,  and  similar  instru- 
ments. 

Bocca  chiusa  (It.)  (bok-ka  ke-oo-za.)  With  closed 
mouth.     Humming. 

Body.  The  resonance  box  of  a  string  instrument. 
That  part  of  a  wind  instrument  which  remains 
after  the  removal  of  mouth-piece,  crooks,  and 
bell.  The  tube  of  an  organ-pipe  above  its 
mouth. 

Boehm  Flute.  A  flute  with  perfect  system  of  sound 
holes,  closed  by  pads;  with  a  key  mechanism 
that  greatly  facihtates  execution.  Invented  by 
Theobald  Boehm. 

21 


MUSIC   DICTIONARY 

Bogen  (Ger.)  {ho-^n.)  The  bow  of  a  violin,  etc.; 
a  sltir  or  tie. 

Bolero  (Spa.)  (bo-Za-ro.)  A  lively  Spanish  dance, 
in  f  time.  It  is  much  like  the  Andalusian  ca- 
chucha.  It  is  accompanied  by  castanets,  and 
sometimes  with  singing. 

Bombarde  (Fr.)  (b6nh-bard.)      )    A   powerful  reed 

Bombardo  (It.)  (b6m-6dr-do.)  )  stop  in  an  organ 
of  16-foot  scale;  also  an  old  wind  instrument  of 
the  oboe  species. 

Bombardon  (Ger.)  (6(5m-bar-don.)     A  form  of  Tuba. 

Bones.  Strips  of  wood  or  bone  slightly  curved,  a 
pair  being  held  in  each  hand  and  clicked  together 
in  varied  rhythm.  Typical  of  negro  minstrel 
music. 

Boot.     The  foot  of  a  reed  pipe. 

Bordone  (It.)  (b6r-d5-n6.)       I   An  -organ  stop,  the 

Bourdon  (Fr.)  (boor-donh.)  J  pipes  of  which  are 
stopped  or  covered,  and  produce  the  16-foot, 
and  sometimes  the  32-foot  tone;  also  a  drone 
bass. 

Boudhe  fermee  (JBoosh  fair-may.)  With  closed 
mouth;  humming. 

Bouchee  (Fr.)  (Boo-shay.)  Applied  to  wind-in- 
struments this  means  muted;  applied  to  organ 
pipes  it  means  stopped. 

Bourree  (Fr.)  (boor-ra.)  An  old  French  dance  said 
to  have  come  from  Auvergne,  but  others  claim 
it  to  be  a  Spanish  dance  coming  from  Biscay, 
where  it  is  still  in  use.  It  is  very  rapid  and  hearty, 
generally  in  |  or  in  |  time. 

Bow.  An  instrument  of  wood  and  horsehair,  em- 
ployed to  set  the  strings  of  the  violin,  etc.,  in 
vibration.  The  bow,  originally  curved,  as  its 
name  implies,  has  been  subject  to  many  changes 
of  shape  from  time  to  time,  from  a  large  curve 
to  an  almost  flat  form. 

Bow  hand.  The  right  hand;  the  hand  which  holds 
the  bow. 

Bowing.  The  art  of  using  the  bow;  playing  with 
the  bow.  "  The  bowing "  also  refers  to  the 
marks  used  to  guide  the  player,  as  i  i  a  down- 
stroke,  V  an  upstroke,  etc. 

Brace.  A  character  curved  or  straight  used  to 
connect  together  the  different  staves;  the  leather 
slide  which  tightens  or  loosens  the  cords  of  a 
drum. 

22 


MUSIC   DICTIONARY 

Branle  (Fr.)  (briinhl.)  A  lively  old  dance  in  f 
time;  a  species  of  "  follow  my  leader,"  in  which 
all  the  motions  of  the  leading  couple  were  imi- 
tated. 

Brass  band.  A  number  of  performers  whose  in- 
struments are  exclusively  brass. 

Brass  wind.  The  term  applied  to  the  horns, 
trumpets,  trombones,  and  tuba  of  an  orches- 
tra. 

Bratsche  (Ger.)  (5m-tshS.)  The  viola  or  tenor 
violin.     See  Viola. 

Braut-lied  (Ger.)  (brout-led.)  A  bridal  hymn;  a 
wedding  song. 

Bravo  (It.  mas.)  (6ra-va.)  An  exclamation  of 
approval  often  used  in  theatres;  excellent,  very 
good,  etc. 

Bravissima,  etc.  (It.  fem.)  (bra-yes-se-ma.)  Ex- 
ceedingly good;  exceedingly  well  done. 

Bravura  (It.)  (bra-yoo-ra.)  Spirit;  skill;  requiring 
great  dexterity  and  skill  in  execution. 

Bravura,  con.  (It.)  (brA-voo-rii,  kon.)  With  spirit 
and  boldness  of  execution. 

Brawl.     See  Branle. 

Break.  1.  The  point  of  change  in  the  quality  of 
tenor,  soprano,  and  alto  voices.  A  genuine  bass 
voice  has  no  break.  The  lower  range  is  called 
voce  di  petto,  or  chest  voice;  the  upper,  voce  di 
testa,  or  head  voice;  and  the  place  of  junction  is 
called  the  break.  A  properly  cultivated  voice 
should  have  the  break  so  under  control,  that  the 
change  of  the  quality  should  be  practically  im- 
perceptible. 2.  In  the  clarinet  the  break  in  the 
tone  of  the  instrument  occurs  between  B  flat 
and  B  natural. 


i 


i^ 


3.   An  imperfectly-formed  tone  on  horn,  trum- 
pet or  clarinet. 

Breit  (Ger.)  (brit.)     Broad. 

Breve  (It.)  (5ra-vg.)  1.  Short;  in  ancient  times 
the  Breve  was  the  shortest  note.  The  notes 
then  used  were  the  Large,  the  Long,  and  the 
Breve.  The  Breve  is  now  the  longest  note;  it 
is  equal  to  two  semibreves  or  whole  notes.  2.  A 
Double  whole  note  (il=^)  or  0=0' 
23 


3n  octaves.      Octaves  r~#       ^~l        f   ~? 
which  the  notes  are  I  W  ^  |    *      [*  i    i^ 


MUSIC   DICTIONARY 

Bridge.    That  part  of  a  stringed  instrument  that 

supports  the  strings. 
Brillante    (It.)    {hre\-ydn-te.)    I    Bright,  sparkling, 
Brillante    (Fr.)    (bre-yanht.)    )        brilUant. 
Brindisi  (It.)  (breen-dee-zee.)     A  drinking  song. 
Brio  (It.)  (bree-6.)     Vigor,  animation,  spirit. 
Brioso   (It.)    (bree-o-zo.)     Lively;    vigorous;    with 

spirit. 
Brise  (Fr.)   (bre-zay.)     Split;    broken  into  an  ar- 

peggio. 
Broken    chords.     Chords    whose    notes    are    not 

taken  simultaneously,  but  su^ccessivel;^. 
Broken 

in 

played  separately,  as 
Bruit  (Fr.)  (brii-e.)     Noise,  rattle,  clatter. 
Brummen  (Gr.)  {broom-men.)     To  hum;  to  growl. 
Bniscamente     (It.)     (broos-ka-wen-tg.)     Abruptly, 

coarsely. 
Biiffa   (It.)    (boof-ia.)   )  Comic;    humorous;    in  the 
Biiffo  (It.)   (boof-io.)   f  comic  style;    also  a  singer 

who  takes  comic  parts  in  the  opera. 
Buffonescamente  (It.)  (boof-fo-nes-ka-men-tS.)     In 

a  burlesque  and  comical  manner. 
Buffa,  opera  (It.)  {boof-ia,  o-p6-ra.)     A  comic  opera; 

a  burletta. 
Bugle.     1.   A    hunting    horn.     2.   An    instrument 

of  copper  or  brass,   similar  to  the  cornet,  but 

higher  and   more   piercing  in   pitch.     Formerly 

it  was  equipped  with  keys  or  valves,  but  now 

exists  only  in  natural  form  and  is  used  in  mili- 
tary field  music. 

It  gives  the  following  open  tones. 


Burden.    A  regular  return  of  a  theme  or  phrase  in 

a  song,  at  the  close  of  each  verse;  the  drone  of  a 

bagpipe. 
Burla  (It.)  (boor-la.)  ]  Facetious,  droll,  com- 

Burlando  (It.)  (boor-Zan-do.)  [      ical;    in  a    pla5^ul 
Burlesco  (It.)  (boor-Z^s-ko.)   J      manner. 
Burletta  (It.)   (boor-Z^^ta.)     A  comic  operetta;    a 

light  musical  and  dramatic  piece,  somewhat  in 

the  nature  of  the  English  farce. 
24 


MUSIC   DICTIONARY 


C.  The  first  note  of  the  natural  scale.  The  note 
Ut  of  the  Guidonian  System.  (See  Solfaing.) 
The  note  from  which  pianos  and  organs  are 
tuned. 

C  is  called  Ut  in  France  and  Do  in  Italy.  It  is  an 
error  to  suppose  that  the  sign  g  is  C  as  an  ab- 
breviation for  "  Common  Time."  The  sign  came 
from  a  broken  circle,  used  in  the  Middle  Ages  and 
called  the  Imperfedum.     See  Time. 

Cabaletta  (It.)  (ka-ba-^^ta.)  A  simple  melody 
of  a  pleasing  and  attractive  character;  an  operatic 
air  like  the  rondo  in  form;  a  cavaletta. 

Cachucha  (Spa.)  (ka-ic/ioo-tcha.)  A  popular  Span- 
ish dance  in  triple  time,  very  similar  to  the  Bo- 
lero. 

Cadence  (Fr.)  (ka-danhs.)  A  shake  or  trill;  also 
a  close  in  harmony.     (See  Cadenza.) 

Cadence.  1.  A  close  in  melody  or  harmony,  divid- 
ing it  into  numbers  or  periods,  or  bringing  it 
to  a  final  termination.  2.  An  ornamental  pas- 
sage.    See  below  and  also  Cadenza. 

Cadence,  authentic  or  perfect.  A  perfect  or  final 
cadence;  the  harmony  of  the  dominant  followed 
by  that  of  the  tonic  or  the  progression  of  the 
dominant  to  the  tonic. 

Cadence,  church.     The  plagal  cadence. 

Cadence,  complete.  A  full  cadence;  when  the  final 
sound  of  a  verse  in  a  chant  is  on  the  keynote. 

Cadence,  deceptive.  When  the  dominant  chord  re- 
solves into  another  harmony  instead  of  the  tonic. 

Cadence,  half  or  imperfect.  When  the  dominant 
harmony  is  preceded  by  the  common  chord  of 
the  tonic;  a  half  cadence. 

Cadence,  plagal.  When  tonic  harmony  is  pre- 
ceded by  subdominant. 


Perfect  Cadences. 


Half 


p^S^s^: 


g 


m 


w 


25 


MUSIC    DICTIONARY 


or  Imperfect  Cadences. 


Inter- 


^=g=P.^ 


3^ 


=g: 


^ 


V  I        V         V 

rupted,  False  or  Deceptive  Cadences. 


VI         V         IV              V        VI 
JL^ —  — «—  ] = — -  \-^ D 

^ \ 1 

n^s        V 

Plagal  Cadences. 


IV3|7 


Cadenza  (It.)  (ka-cZen-tsa.)  A  cadence;  an  orna- 
mental passage  introduced  near  the  close  of  a 
song  or  solo,  either  by  the  composer  or  extem- 
poraneously by  the  performer. 

Caisse  (Fr.)  (kass.)     A  drum. 

Caisse  grosse  (Fr.)  (kass  gross.)     The  bass  drmn. 

Caisse  roulante  (Fr.)  (kass  roo-lanht.)  The  side 
drum. 

Caland  (It.)  (ka-feinrf.)         I  Gradually  dimmishing 

Calando  (It.)  (ka-Zan-do.)  \  the  tone  and  retard- 
ing the  time;  becoming  softer  and  slower  by 
degrees. 

Calcando  (It.)  (kal-fcan-d5.)  Pressing  forward  and 
hurrying  the  time. 

Calcant  (Ger.)  (A^dZ-kant.)  The  bellows  treader, 
in  old  German  organs. 

Calliope  (KaWee-6-p6.)  1.  In  pagan  mythology 
the  muse  that  presided  over  eloquence  and  heroic 
26 


MUSIC   DICTIONARY 

poetry,  2  A  pipe  (or  whistle)  organ  of  limited 
compass,  the  loud  and  coarse  tone  being  pr» 
duced  by  steam  instead  of  air- 

Calma    (It.)     {kal-mH.)  ]  Cfl]mr^9^^   tnnniiiH#v 

Calmate  (It.)   (kal-ma-te.)  I  <-almness,  tranqmlL«y, 

Calmato  (It.)  .(kal-?Ma-to.)  J     ^^Pose. 

Galore    (It.)    (ka-^o-re.)  I   Warmth,     anima- 

Caloroso    (It )    (kal-o-ro-zo )     )       tion. 

Camera  (It )  (Axz-mS-ra.)  Chamber;  a  term  ap>- 
plied  to  music  composed  for  private  perform- 
ance or  small  concerts. 

Caminando  (It.)  (ka-mi-nan-do.)  Flowing;  with 
easy  and  gentle  progression. 

Campana  (It.)  (kam-pa-na  )     A  bell. 

Campanella  (It )   (kam-pa-n^Wa.)     A  little  bell. 

Canaries  (Eng )  (k3,-?ia-r6s.)  An  old  dance,  in 
lively  I  or  f ,  and  sometimes  -V-  time,  of  two  strains. 
It  derives  its  name  from  the  Canary  Islands, 
whence  it  is  supposed  to  have  come. 

Cancelling  sign.  A  natural  (3),  employed  to  re- 
move the  effect  of  a  previous  accidental. 

Cancion  (Spa.)  (kan-the-ow.)  A  song;  words  set 
to  music. 

Cancrizans    (It.)    (kan-^re-tsans.)     (  t?«4.„«„^„j« 

Cancrizante  (It.)  (.kan-kie-tsdn-te.)    (  ^-etiograde 
movement;  going  backward;   crab-like. 

Canon.  The  strictest  form  of  contrapuntal  com- 
position, in  which  each  voice  imitates  exactly 
the  melody  simg  or  played  by  the  first  voice. 
See  Richter,  Chadwick,  Jadassohn,  Goetschius, 
works  on  Counterpoint  or  "  Elson's  Music  Dic- 
tionary," 

Cantabile  (It.)  (kan-^-bi-lS.)  Singing  or  playing 
in  a  melodious  and  graceful  style,  full  of  expres- 
sion. 

Cantando  (It.)  (kan-^n-doh.)  In  a  singing  style; 
canlabile. 

Cantare  (It.)  (kan-^-rS.)  To  sing;  to  celebrate; 
to  praise. 

Cantata    (It.)    (kan-^-ta.)    1    A  poem  set  to  mu- 

Cantate    (Fr.)    (kanh-tat.)     [sic;     a    vocal    com- 

Cantate  (Ger.)  (kan-fa-tS.)  J  position  of  several 
movements,  comprising  airs,  recitatives  and 
choruses. 

Cdntica   (It.)    (kan-^-ka.)     }    Canticle;  the  anc^t 

Canticae  (Lat.)  (kan-tirsa^)  f  laudi,  or  sacred 
songs  of  tiie  Roman  Catholic  Church. 


MUSIC   DICTIONARY 

Canticle.  A  sacred  hymn  or  song.  One  of  the 
non-metrical  hymns  of  praise  and  jubilation  in 
the  Bible. 

Cantilena  (It./  (kan-t!-Za?/-na.)  The  melody,  air, 
or  principal  part  in  any  composition;  generally 
the  highest  vocal  part;  it  is  also  applied  to  any 
light  and  simple  song,  or  in  instrumental  music, 
a  piece  of  song-like  character.  It  sometimes 
indicates  a  smooth,  cantabile  style  of  play- 
mg. 

Cinto  (It.)  (kdn-to.)  1.  Song,  air,  melody;  the 
highest  vocal  part  in  choral  music.  2.  A  part 
or  division  of  a  poem. 

Canto  fermo  (It.)  (kan-to  fair-mo.)  1.  A  chant 
or  melody.  2.  Choral  singing  in  unison  on  a 
plain  melody.  3.  The  subject  or  ''  fixed  song  " 
against  which  other  melodic  figures  are  set, 
"  point  against  point,"  in  contrapuntal  writing; 
also,  Cardus  firmus. 

Cantor  (It.)  (kan-^dr.)     A  singer;  a  chanter. 

Cantoris  (Lat.)  (kan-io-ris.)  A  term  used  in  ca- 
thedral music  to  indicate  the  passages  intended 
to  be  sung  by  those  singers  who  are  placed 
on  that  side  of  the  choir  where  the  cantor  or 
precentor  sits.  This  is  usually  on  the  left-hand 
side  on  entering  the  choir  from  the  nave.  See 
Decani. 

Cantus  (Lat )  (/can-ttis.)  A  song;  a  melody;  also, 
the  treble  or  soprano  part.     Canto. 

Cantus  firmus  (Lat.)  {kdn-tus  /?r-mtis.)  See 
canto  fermo. 

Cantus  Gregorianus  (Lat.)  (/can-tiis  Gre-go-rl-a-niis.) 
See  Gregorian  cJmnt. 

Canzona    (It,)     (kan-^sd-na.)    \    .     r,  ballad- 

Canzone  (It.)  (kan-^sd-nS.)  (  ^'  ^^^S'  ^^^^^^ 
canzonet.  2  A  graceful  and  somewhat  elaborate 
air  in  two  or  three  strains  or  divisions.  3.  An 
air  in  two  or  three  parts  with  passages  of  fugue 
and  imitation,  somewhat  similar  to  the  madri- 
gaL 

Canzonet  A  short  song  m  one,  two,  or  three 
parts. 

Canzonetta  (It )  (kan-tso-nef-ta )  A  short  can- 
zone.    A  little  song, 

Capell-meister.  (Ger.)  (ka-p^Z-mls-ter.)  The  di- 
rector, composer,  or  master  of  the  music  in  a  choir 
or  orchestra. 

28 


MUSIC   DICTIONARY 

Capo  (It.)  (kd-po.)  The  head  or  beginnmg;  the 
top. 

Capotasto  (It.)  (ka-po-Ms-to.)  1.  The  nut  or 
upper  part  of  the  finger  board  of  a  viohn,  violon- 
cello, etc.  2,  A  piece  of  wood  or  ivory  with 
clamp,  used  by  guitar  players  to  form  a  tempo- 
rary nut  upon  the  finger  board,  to  raise  the  pitch 
of  all  the  strings  simultaneously.  Incorrectly 
written  in  English  Capo  d'astro. 

Cappella  (It.)  (kap-peMa.)  1.  A  chapel  or  church. 
2.  A  band  of  musicians  that  sing  or  play  in 
a  church,  or  in  private  employ.  3.  An  or- 
chestra. 

Cappriccietto  (It.)  (ka-pret-she-^i-to.)  A  short  ca- 
pricaio. 

Capriccio  (It.)  (ka-pre^-she-5.)  A  fanciful  and  ir- 
regular species  of  composition;  a  species  of  fan- 
tasia;  in  a  capricious  and  free  style. 

Capricciosamente  (It.)  (ka-pret-she-o-za-meri-tS.) 
Capriciously. 

Capriccioso  (It.)  (ka-pret-she-6-zo.)  In  a  fanci- 
ful and  capricious  style. 

Caprice  (Fr.)  (ka-pres.)     A  caprice.     See  Capriccio. 

Carattere  (It.)  (ka-m^-tai-r5.)  Character,  quality, 
degree. 

Caressant  (Fr.)  (ka-r6s-sanh.)     Caressing,  tenderly. 

Carezzando  (It.)  {ka-ret-tsdn-do.)    )    In  a  caressing 

Carezzovole  (It.)  (ka-ret-s5-2;o-le.)  )  and  tender 
manner. 

Caricatura  (It.)  (ka-re-ka-too-ra.)  A  caricature; 
an  exaggerated  representation. 

Carillon  (Fr.)  (ka-re-yonh.)     Chime. 

Carillons  (Fr.  pi.)  (ka-re-y6nh.)  1.  Chimes;  a 
peal  or  set  of  bells,  upon  which  tunes  are  played 
by  the  machinery  of  a  clock,  or  by  means  of 
keys,  like  those  of  a  pianoforte.  2.  Short 
simple  airs  adapted  to  such  bells.  3.  A  mix- 
ture stop  in  an  organ,  to  imitate  a  peal  of  bells. 

Carita  (It.)  (ka-re-ta.)     Tenderness,  feeling. 

Carita,  con.  (It.)  (ka-re-ta,  kon.)  With  tender- 
ness. 

Carol.  1.  A  song.  2.  A  song  of  joy  and  exul- 
tation; a  song  of  devotion.  3.  Old  ballads 
sung  at  Christmas  and  Easter. 

Cassa  (It.)  (kds-ssi.)     A  large  drum. 

Cassa  grande  (It.)  (kas-sa.  grdn-6&.)  The  bass  drum 
in  military  music. 


MtrsiC   DICTIONARY 

Castanets.  Clappers  used  to  accompany  dancing; 
formed  of  small  concave  shells  of  ivory,  or  hard 
wood.  Castanets  are  used  by  dancers  in  Spain 
and  other  southern  countries  to  mark  the  rhythm 
of  the  holer 0,  cachucha,  etc. 

Castrato  (It.)  (kas-ira-to.)  A  male  singer  with  a 
soprano  voice;   a  eunuch. 

Catch.  A  humorous  composition  for  three  or  four 
voices,  supposed  to  be  of  English  invention  and 
dating  back  to  the  Tudors.  The  parts  are  so 
contrived  that  the  singers  catch  up  each  other's 
words,  thus  giving  them  a  difTerent  sense  from 
that  of  the  original  reading.  The  oldest  catches 
were  rounds. 

Catgut.  A  small  string  for  violins  and  other  in- 
struments of  a  similar  kind,  made  of  the  intes- 
tines of  sheep,  lambs,  or  goats. 

Cavatina  (It.)  (ka-va-^Je-na.)  An  air  of  one  strain 
only;  generally  of  simple  and  expressive  char- 
acter. 

C  clef.  It  is  called  the  C  clef,  because,  on  what- 
ever line  it  is  placed,  it  gives  to  the  notes  on 
that  line  the  name  and  pitch  of  middle  C.  Is 
used  for  Tenor,  Sop.,  and  Alt.     See  Clef. 

C  dur  (Ger.)  (tsa  doer.)  The  key  of  G 
major. 

Cebell.  The  name  of  an  old  air  in  common  time, 
characterized  by  a  quick  and  sudden  alterna- 
tion of  high  and  low  notes. 

Celere  (It.)  (is/ia-16-re.)  Quick;  rapid;  with  veloc- 
ity. 

Celerita  (It.)  (tsha-la-re-ta.)      I    Celerity,   velocity, 

Celerite  (Fr.)  (sa-la-re-ta.)        )        rapidity. 

Celesta.  An  instrument  invented  by  Mustel  in 
Paris,  in  1886.  It  consists  of  steel  tuning  forks 
set  in  sound  boxes  and  struck  wif :.h  mallets  through 
medium  of  a  key-board. 

Celeste  (Fr.)  (sa-16st.)  Celestial,  heavenly;  voix 
celeste,  a,  sweet-toned  organ  stop. 

Celestina  (It.)  (tsha-l6s-^e-na.)  An  organ  stop  of 
small  4-foot  scale,  producing  a  very  delicate  and 
subdued  tone. 

'Cello  (It.)  (tshel-lo.)  An  abbreviation  of  violon- 
cello. 

Cembalo  (It.)  {tsh&m-h?i-\o.)     A  harpsichord. 

Ces  (Ger.)  (ts6s.)     The  note  C  flat. 

Ces  dur  (ts6s  doer.)     The  key  ctf  C  flat  major. 
.^0 


MUSIC   DICTIONARY 

Chaconne  (Fr.)  (sha-konne.)  A  graceful,  slow 
Spanish  movement  in  f  time,  and  composed 
upon  a  ground  bass.  Also  an  instrumental  form 
Hsed  by  the  old  masters. 

Chalmeau    (Fr.)    (shal-mo.)      )  The    lowest    regis- 

Chalumeau  (Fr.)  (shal-u-mo.)  \  ter  of  instruments 
of  the  clarinet  family  is  called  the  chalumeau, 
from  the  obsolete  instrument  shawm,  shalmey, 
precursor  of  the  oboe  and  clarinet. 

Chamade  (Fr.)  (sha-mad.)  Beat  of  drum  declaring 
a  surrender  or  parley. 

Chamber  band.  A  company  of  musicians  whose 
performances  are  confined  to  chamber  music. 

Chamber  music.  In  a  broad  sense  "  chamber 
music  "  is  amj  music  suited  to  a  room,  or  small 
hall,  as  distinct  from  music  for  a  large  audito- 
rium, as  church,  operatic,  or  symphonic  music. 
Practically,  the  term  is  most  frequently  applied 
to  concerted  pieces  of  instrumental  music  in 
the  sonata  form,  as  string  or  wood-wind  quar- 
tets, quintets,  etc. 

Changes.  The  various  alternations  and  different 
passages  produced  by  a  peal  of  bells. 

Changing  notes.  A  term  apphed  by  some  theo- 
rists to  passing  notes  or  discords,  which  occur 
on  the  accented  parts  of  a  measure. 

Chanson  (Fr.)  (shanh-s6nh.)     A  song. 

Chant.  1.  A  short  sacred  song,  generally  har- 
monized in  four  part^,  to  which  IjTical  portions 
of  the  Scripture^-  are  set,  part  of  the  words  being 
recited  ad  libitum,  and  part  sung  in  strict  time. 
A  Gregorian  chant  consists  of  five  parts:  the 
intonation;  the  first  reciting  note  or  dominant; 
the  mediation;  the  second  reciting  note  or  domi- 
nant; the  cadence.  The  Gregorian  chant  is  the 
one  chiefly  used  in  the  Catholic  and  Anglican 
service.     2.     To  recite  musically;  to  sing. 

Chant  (Fr.)  (shanh.)  The  voice  part;  a  song  or 
melody;  singing. 

Chantant  (Fr.)  (slianh-tanh.)  Adapted  to  singing; 
in  a  melodious  and  singing  style. 

Chantante  (Fr.)  (shanh-tanht.)     Singing.      '    - 

Chant,  double.  A  chant  extending  through  two 
verses  of  a  psalm.  It  should  have  four  recit- 
ing-notes  and  four  cadences. 

Chanter.    The  melody  pipe  in  a  bagpipe. 

Chanterelle  (Fr.)  (shanht-rel.)  Treble  string;  the 
31 


MUSIC   DICTIONARY 

E  string  of  the  violin.  The  highest  string  of 
any  instrument  of  the  violin  or  lute  family. 

Chant,  plain.  A  single  chant,  seldom  extending 
beyond  the  limits  of  an  octave,  or  through  more 
than  one  verse  of  a  psalm. 

Chant,  single.  A  simple  harmonized  melody,  ex- 
tending only  through  one  verse  of  a  psalm. 

Charivari  (Fr.)  (shii-ri-va-re.)  Noisy  music  made 
with  tin  dishes,  horns,  bells,  etc.;  clatter;  a 
mock  serenade. 

Chasse  (Fr.)  (shass.)  Hunting;  in  the  hunting 
style. 

Che  (It.)  (ka.)     Then,  that,  which. 

Chef  (Fr.)  (sh6f.)     Leader,  chief. 

Chef-d'oeuvre  (Fr.)  (sha  d'oovr.)  A  masterpiece; 
the  principal  or  most  important  composition  of 
an  author. 

Chef-d'orchestre  (Fr.)  (sha  d'6r-k6str.)  The  con- 
ductor of  an  orchestra. 

Chest  vSce*    I    ^^^  ^°^^^*  register  of  the  voice. 

Chest,  wind.  A  reservoir  in  an  organ  for  holding 
the  air  supplied  by  the  bellows. 

Chiamare  (It.)  (ke-a-ma-rg.)     To  chime. 

Chiaramente  (It.)  (ke-a-ra-7na?i-t6.)  Clearly, 
brightly,  purely. 

Chiarezza,  con.  (It.)  (ke-a-rei-sa.)  Clearness,  neat- 
ness, purity. 

Chiesa  (It.)  (ke-a-za.)  A  church.  Applied  to 
various  musical  works. 

Chmie.  A  set  of  bells  tuned  to  a  musical  scale; 
the  sound  of  bells  in  harmony;  a  correspond- 
ence of  sound. 

Chitarra  (It.)  (ke-for-ra.)     A  guitar;   a  cithara. 

Chiuso  (It.)  (ki-oo-zo.)  Close;  hidden;  Bocca 
chiuso,  with  closed  mouth;  humming. 

Choir.  1.  That  part  of  a  cathedral  or  church  set 
apart  for  the  singers.  2.  The  singers  them- 
selves taken  collectively. 

Choir,  grand.  In  organ  playing,  the  union  of  all 
the  reed  stops. 

Choir  organ.  In  a  large  organ,  the  lowest  row  of 
keys  is  generally  the  choir  organ,  which  con- 
tains some  of  the  softer  and  more  delicate  stops, 
and  is  used  for  accompanying  solos,  duets,  etc. 

Choral.  Belonging  to  the  choir;  full,  or  for  many 
voices. 

32 


MUSIC   DICTIONARY 

Choral    (Ger.)    (ko-rdZ.)     (    -Lr,,^„    +„„«o    «'    +u« 

Chorale  (pZ.)(ko-m-l6.)  (  ^^^^  *^^^^  ^  *^« 
early  German  Protestant  church. 

Chord.  The  union  of  two  or  more  sounds  heard 
at  the  same  time.  Chords  are  often  indicated 
by  figures  attached  to  their  bass  notes.  See 
Thorough  Bass.  Consult  Stainer's  "  Harmony," 
or  York's  "  Harmony  Simplified." 

Chord,  accidental.  A  chord  produced  either  by 
anticipation  or  suspension. 

Chord,  common.  A  chord  consisting  of  a  funda- 
mental note  together  with  its  third  and  iifth. 

Chord,  dominant.  1.  A  chord  that  is  found  on 
the  dominant  of  the  key  in  which  the  music  is 
written.     2.    The  leading  or  characteristic  chord. 

Chord,  fvmdamental.  A  chord  consisting  of  the 
fundamental  tone  with  its  thhd  and  fifth. 

Chord,  inverted.  A  chord,  the  notes  of  which  are 
so  dispersed  that  the  root  does  not  appear  as  the 
lowest  note. 

-4f r*^ •*- 


Chord.  Inversions. 

Chorister.     A  leader  of  a  choir;  a  singer. 

Chorus.  1.  A  company  of  singers.  2.  A  com- 
position intended  to  be  sung  by  a  number  of 
voices.     3.   A  refrain. 

Christe  eleison  (Gr.)  (krls-te-^-li-s6n  or  a-Za?/-ee- 
s6n.)  "O  Christ,  have  mercy";  a  part  of  the 
Kyrie  or  first  movement  in  a  Mass. 

Chromatic.  1.  Proceeding  by  half -steps.  2.  Any 
music  or  chord  containing  notes  not  belonging 
to  the  diatonic  scale. 

Chromatic  keys.  1.  The  black  keys  of  a  piano- 
forte. 2.  Every  key  in  the  scale  of  which  one 
or  more  chromatic  tones  occur. 

Chromatic  scale.  A  scale  which  divides  every 
whole  step  of  the  diatonic  scale,  and  consists  of 
twelve  half-steps  in  an  octave. 

Chromatic  signs.  Accidentals;  sharps,  flats,  and 
naturals.  The  chromatic  signs  used  in  mod- 
ern music  are  the  sharp  (i?),  the  ^"b),  the  natural  (5), 
the  double  sharp  (^),  and  the  double  flat  (i>b). 
See  ELson's  "Theory  of  Musio,'*  and  "Elson's 
Music  Dictionary." 

33 


MUSIC   DICTIONARY 

Church   Cadence.     Another  name  for  the    Plagal 

Cadence. 
Church  modes.     See  Gregorian  modes. 
Ciaccona    (It.)    (tshee-a-A;o-na.)    (  q^^  nu^^^^^^ 
Ciacconne  (It.)  (tshee-a-/con-n6.)  }  ^^^  Chaconne. 
C  in  alt.     The  fourth  note  of  the  alt  octave. 


m 


See  Tahlature. 


Cmelli  (It.)  (tschi-ncWee.)     Cymbals. 

Ciphermg  (s2-f6r-ing.)  The  sounding  of  the  pipes 
of  the  organ  when  the  kej^s  are  not  touched. 

Circle  of  fifths.  A  method  of  modulation,  from 
dominant  to  dominant,  which  conveys  us,  round 
through  all  the  scales,  back  to  the  point  from 
which  we  started. 

Cis  (Ger.)  (tsis.)     The  note  C  sharp. 

Cis-cis  (Ger.)  (tsis-tsls.)     The  note  C  double  sharp. 

Civetteria  (It.)  (tshe-v6t-^-re-a.)  Coquetry;  in  a 
coquettish  manner. 

Clarabella  (Lat.)  Qda-rsL-bel-lh..)  An  organ  stop  of 
eight-foot  scale,  with  a  soft  fluty  tone;  the  pipes 
are  of  wood  and  not  stopped. 

Clarinet  (also  Clarinette.)  A  rich  full-toned  wind  in- 
strument of  wood,  with  a  single  reed  mouth-piece. 
It  is  one  of  the  most  important  wood  wind-instru- 
ments. It  is  said  to  have  been  invented  about 
1700,  by  J.  C.  Denner,  of  Nuremburg.  It 
consists  of  a  cylindrical  tube,  with  finger-holes 
and  keys,  which  terminates  in  a  bell,  and  has  a 
beak-like  mouth-piece.  Its  extreme  compass  is 
There  are  clarinets  of  different  pitch; 
those  commonly  used  in  the  orchestra 
are  the  clarinets  in  C,  in  Bb,  and  in 
A.  The  clarinets  in  Eb  or  Ab  are 
rarely  used  except  in  military  bands. 
All  clarinets,  the  one  in  C  excepted,  are  transposing 
instruments.  See  A.  Elson's  "  Orchestral  In- 
struments and  their  Use,"  and  Front's  "  The 
Orchestra." 

Clarinet,  bass.  A  clarinet  whose  tones  are  an  oc- 
tave deeper  than  those  of  the  C  or  B-flat  clarinet. 

Clarinette   (Fr.)    (klar-i-n6t.)  )  Theclarmet;  also  an 

Clarionet.  )  organ  reed    stop   of 

8-foot  scale  and  soft  quahty  of  tone. 
34 


i 


MUSIC  DICTIONARY 

Clarino  (It.)  (kla-ree-no) .  I    A  stiiall  or  octave  trum- 

Clarion.  (  pet;    also  the  name  of 

a  4-foot  organ  reed  stop  tuned  an  octave  above 
the  trumpet  stop.  The  term  is  also  used  to  indi- 
cate the  trumpet  parts  in  full  score. 

Classical  music.  Standard  m"sic;  music  of  first 
rank,  written  by  composers  of  the  highest  order. 
Music  whose  form  and  style  has  been  accepted 
as  suitable  for  a  model  to  composers. 

Clavecin  (Fr.)  (klilv-o-sanh.)  The  harpsichord,  or 
the  spinet. 

Clavichord.  A  small,  keyed  instrument,  like  the 
spinet,  and  the  forerunner  of  the  pianoforte. 
The  tone  of  the  clarichord  was  agreeable  and 
impressive,  but  very  weak.  Its  mechanism 
pushed  a  sharp  edge,  like  the  point  of  a  chisel, 
against  the  wire,  and  this  point  remained,  press- 
ing the  wire  while  the  key  was  held,  forming 
a  bridge.  See  Weitzmann's  "  History  of  Piano- 
forte Music." 

Clavier  (Fr.)  (kla-vee-ay.)  I  The  keys  or  key-boai'd 

Clavier  (Ger.)  (klii-fcer.)  \  of  pianoforte,  organ, 
etc.  The  German  name  for  spinets,  harp- 
sichords and  clavichords.  At  present  the 
Germans  call  the  piano  "  Clavier "  or  "  Kla- 
vier." 

Clavier-auszug  (Ger.)  (klsi-feer  ous-tsoog.)  An 
arrangement  of  a  full  score  for  the  use  of  piano 
players. 

Cle    (Fr.)     (kla.)  I    A  key;    a  character  used  to 

Clef.  (    determine  the  name  and  pitch 

of  the  notes  on  the  staff  to  which  it  is  prefixed. 
The  following  are  used  in  music  to-day :  —  The  G 

clef,  placing  g  on  the  second  line,  thus 

the  bass,  or  F  clef,  placing  f  on  the  fourth  line, 

thus  "^'=^= ;    these   two    are    now   fixed,   im- 


movable clefs.  The  C  clef,  which  fixes  the  po- 
sition of  middle  c,  or  c,  is  a  movable  clef,  and  is 
used  to-day,  as  follows: 

Alto  clef 


1*1 


^ 


35 


MUBlC   DICTIONARY 


Tenor  clef         ^.^=^^=3 


and    often     in    America 

In  Italy  vocal  tenor  parts  are  written  nowa- 
days with  a  combined  treble  and  tenor  clef  as 
follows: 


See  Elson's  "  Realm  of  Music,"  article  on  "  The 
Rise  of  Notation." 

Cloche  (Fr.)  (klosh.)     A  bell. 

Close.     A  cadence;   the  end  of  a  piece  or  passage. 

Close  harmony.  Harmony  in  which  the  notes  or 
parts  are  kept  as  close  together  as  possible. 

C  moll  (Ger.)  (tsa  mol.)     The  key  of  C  minor. 

Co    (It.)    (ko.)        )    ,^.,,       .,,    ., 

Coi    (It.)    (/co-ee.)    \    WitH,  with  the. 

Coda  (It.)  (/co-da.)  The  tail  or  end;  a  few  meas- 
ures added  to  the  end  of  a  piece  of  music  to 
make  a  more  effective  termination.  From  the 
Latin  "  Cauda  "  —  a  tail.  The  coda,  originally 
a  few  added  chords  after  the  completion  of  the 
musical  form,  was  developed  into  a  great  sum- 
ming-up of  the  movement  or  composition; 
a  climax  of  the  entire  work.  The  final  episode 
of  a  fugue  is  called  Coda. 

Codetta  (It.)  (ko-det-t-d.)  A  short  coda  or  passage 
added  to  a  piece;  a  connecting  passage  in  a  fugue. 

ct&V)  ^'^-'"'^    \   ^h  *>>- 

Colla  parte  (It.)  (/coWa  par-te.)  With  the  part; 
indicating  that  the  time  is  to  be  accommodated 
to  the  solo  singer  or  player. 

Colla  voce  (It.)  (/coWa  yo-tshe.)  With  the  voice; 
implying  that  the  accompanist  must  accommo- 
date and  take  the  time  from  the  singer. 

CoU'  arco  (It.)  (k6l-Z'ar-ko.)  With  the  bow;  the 
notes  are  to  be  played  with  the  bow,  and  not 
pizzicato. 

Cor  legno  (It.)  (k6\-ldn-y6.)     With  the  bow  stick. 

Colophon  (Fr.)  (k6l-o-f6nh.)     Resin. 
36 


MUSIC   DICTIONARY 

Coloratura  (It.)  (ko-lo-ra-^oo-ra.)  Ornamental  pas- 
sages, roulades,  embellishments,  etc.,  in  vocal 
music. 

Combination  pedals.     See  Composition  Pedals. 

Come  (It.)  (A:o-me..)     As,  like,  the  same  as. 

Come  prima  (It.)  {ko-m&  prc-ma.)  As  before,  as 
at  first. 

Come  sopra  (It.)  (ko-m^  so-prii.)  As  above;  ai 
before;  indicating  the  repetition  of  a  previous  or 
similar  passage. 

Come  sta  (It.)  (A;o-me  std.)  As  it  stands;  perform 
exactly  as  wTitten. 

Comma  (It.)  {ko7n-msi.)  An  extremely  small  dif- 
ferentiation in  pitch  barely  recognizable  by  the 
ear,  but  which  exists  theoretically  between  so- 
called  enharmonic  notes  hke  D^  and  Eb.  In 
the  science  of  musical  sound  a  whole  step  or 
tone  is  divided  into  nine  commas.  The  sign  of 
a  comma  (,)  is  often  used  as  a  breathing  mark 
in  vocal  music. 

Common  chord.  A  chord  consisting  of  a  root  with 
its  third  and  fifth. 

Common  hallelujah  metre.  A  stanza  of  six  lines 
of  iambic  measure,  the  syllables  of  each  being 
in  number  and  order  as  follows:  8,  6,  8,  6,  8,  8. 

Common  measure.     That  measure  which  has 


an  even  number  of  parts  m  a  measure;    HBEi 
I  rhythm,  sometimes  marked 

Common  metre.  A  verse  or  stanza  of  four  lines 
in  iambic  measure,  the  syllables  o^  each  being 
in  number  and  order,  thus:     8,  6,  8   6. 

Common  time.  A  term  sometimes  used  to  ex- 
press that  time  which  has  an  even  number  of 
parts  in  a  measure;  common  measure;  |  rhythm. 

Comodamente  (It.)  (ko-mo-da-weri-te.)    [  r^^^..^^ 

Comodo  (It.)  (/vo-mo-do.)  ]  '-o^v^^" 

iently,  quietly,  easily,  with  composure. 

Compass.  The  range  of.  notes  or  sounds  of  which 
any  voice  or  instrument  is  capable. 

Compiacevole  (It.)  (k6m-pe-a-^s/ie-v6-le.)  Agree- 
able, pleasing. 

Compiacevolmente  (It.)  (kSm-pe-a-tshS-vol-men- 
te.)     In  a  pleasant  and  agreeable  style. 

Complementary  part.  That  part  which  is  added 
to  the  subject  and  counter-subject  of  a  fugue. 

Complin  (Lat.)  {k6m-\Am.)     The  latest  evening  ser- 
vice of  the  CathoHc  church. 
37 


MUSIC   DICTIONARY 

Composition.  Any  musical  production;  the  art  of 
inventing  or  composing  music,  according  to  the 
rules  of  harmony. 

Composition  pedals.  Pedals  connected  with  a  sys- 
tem of  mechanism  for  arranging  the  stops  of  an 
organ. 

Composso   (It.)    (kom-pos-so.)    \  Composed;  set  to 

Composto    (It.)    {k6m-pos-i6.)    )  music. 

Compound  harmony.  Simple  harmony  with  an 
octave  added. 

Compound  intervals.  Those  which  exceed  the  ex- 
tent of  an  octave;  as  a  ninth,  tenth,  etc. 

Compound  stops.  Where  three  or  more  organ  stops 
are  arranged  so  that  by  pressing  down  one  key 
a  note  from  each  stop  is  sounded. 

Compound  times.  Those  which  include  or  ex- 
ceed six  parts  in  a  measure,  and  contain  two,  or 
more,  principal  accents,  as  f,  f,  |,  |,  V-  ^^^ 
Rhythm,  and  Time. 

Con  (It.)  (kon.)  With.  For  definition  of  various 
phrases  beginning  with  con  see  other  words. 

Coucento  (It.)  (k6n-t^hen-to.)  Concord;  agree- 
ment;  harmony  of  voices  and  instruments. 

Concert.  1.  A  performance  in  pubhc  of  practical 
musicians,  either  vocal  or  instrumental,  or  both. 
2.  Harmony,  unison;  (Ger.)  a  concerto.  Con- 
cert Spirituel  (Ft.)  (con-sair  spee-ree-tii-ell),  a 
sacred  concert. 

Concertant  (Fr.)  (k6hn-sair-tanh.)  Performer  in 
a  concert;  a  musician. 

Concertante  (It.)  (,V:6n-tsh6r-fan-t6.)  1.  A  piece 
in  which  each  part  is  alternately  principal  and 
subordinate,  as  in  a  duo  concertante.  2.  A  con- 
certo for  two  or  more  instruments,  with  ac- 
companiments for  a  full  band.  3.  A  female 
concert  performer. 

Concertato  (It.)  (k6n-tsh5r-^a-to.)  Concerted.  See 
also  Concertante. 

Concerted  music.  Music  in  which  several  voices 
or  instruments  are  heard  at  the  same  time;  in 
opposition  to  s6lo  music. 

Concert-grand  pianoforte.  The  largest  grand  piano- 
forte. 

Concertina  (It.)  (kon-tshgr-^ee-na.)  A  small  in- 
strument, similar  in  principle  to  the  accordion, 
the  sound  boxes  being  hexagonal  in  shape  instead 
of  oblong.  The  Enghsh  concertina  has  a  com- 
38 


MUSIC   DICTIONARY 

plete  chromatic  scale  of  four  octaves  The  tone 
is  clear  and  sweet,  and  much  is  possible  in  way 
of  expression  and  harmonic  effect. 

Concert-meister  (Ger.)  {kdn-tsert-mis-i&r.)  The 
chief  violinist  of  the  orchestra. 

Concerto  (It.)  {kon-tschair-to) ;  (Ger.)  Konzert 
(kont-sairt.)  Also  pronounced  as  an  English 
word  —  concerto.  Originally  the  term  was  ap- 
plied loosely  to  almost  any  kind  of  concerted 
music.  The  central  idea  of  the  modem  concerto 
is  the  display  of  a  solo  instrument,  or  sometimes 
more  than  one.  The  accompaniment  being 
generally  orchestral,  and  the  form  that  of 
Sanata. 

Concert  pitch.  The  pitch  adopted  by  different 
manufacturers  of  musical  instruments  as  best 
suited  to  display  them.  It  is  a  dubious  and 
vague  standard,  but  almost  always  means  a 
very  high  pitch.  In  America  it  has  been  dis- 
placed by  the  "  International  Pitch."     See  Pitch. 

Concert-stuck  (Ger.)  {k6n-tsert  stiik.)  A  concert- 
piece;  a  concerto. 

Concord.  A  harmonious  combination  of  sounds; 
the  opposite  to  a  discord. 

Concords,  perfect.  The  perfect  fom'th,  fifth  and 
eighth. 

Con  dolce  maniera  (It.)  (kon  dol-tsh^  ma-ne-a-ra.) 

Conductor.  A  director  or  leader  of  an  orchestra 
or  chorus.     See  "  Elson's  Music  Dictionary." 

Coaduttore  (It.)  (k6n-doot-^-rS.)  A  conduc- 
tor. 

Conjoint  tetrachords.  Two  tetrachords  or  fourths 
of  which  the  highest  note  of  one  is  the  lowest  of 
the  other. 

Conjunct  degree.  A  degree  in  which  two  notes 
form  the  interval  of  a  second. 

Conjunct  succession.  Where  a  succession  of  tones 
proceed  regularly  upward  or  downward  through 
several  degrees. 

Connecting  note.  A  note  held  in  common  by  two 
successive  chords. 

Consecutive  fifths.  Two  or  more  perfect  fifths, 
immediately  following  one  another  in  similar  mo- 
tion. 

Consecutive  intervals.  Where  two  parallel  partp 
or  voices  of  a  score  proceed  in  succession  by 
similar  motion. 

39 


MUSIC   DICTIONARY 

Consecutive  octaves.  Two  parts  moving  in  oc- 
taves with  each  other. 

Consecutives  covered.  Passages  in  which  consec- 
utive fifths  may  be  imagined,  though  they  do 
not  really  exist;  as,  where  a  third  or  a  sixth 
moves  to  a  fifth. 

Consequent    (Lat.)    (A:ow-se-qu6nt.)  )  The  answer  in 

Consequente  (It.)  {k6n-s&-quen-t&.)  )  sl  fugue,  or 
of  a  point  of  imitation.  A  musical  phrase  fol- 
lowing a  similar  one.  In  musical  periods  the 
antecedent  and  consequent  are  two  b^ilancing 
divisions,  like  two  rhyming  lines,  in  a  verse  or 
couplet.    See  Form. 

Conservatoire   (Fr.)   (k6n-s6r-va-twar.)    )   A  school 

Conservatory.  )   or   acad- 

emy of  music,  in  which  every  branch  of  musical 
art  is  taught. 

Consolante  (It.)  (kon-so-Zan-tS.)  In  a  cheering 
and  consoling  manner. 

Consolatamente  (It.)  (k6n-s6-la-ta-men-tS.)  Quiet- 
ly, cheerfully. 

Console.  The  keyboard,  pedals,  stops,  of  an  or- 
gan, etc.  Sometimes  apart  from  the  sounding 
portion  and  connected  by  electric  cable. 

Consonance.  An  accord  of  sounds  agreeable  and 
satisfactory  to  the  ear;  the  opposite  to  a  dis- 
cord or  dissonance. 

Perfect  consonances,   Fourths,  Fifths  and  Oc- 
taves. 
Imperfect,  Major  and  Minor  Thirds  and  Sixths. 

Consonant.     Accordant,  harmonious. 

Consonare  (It.)  (k6n-so-no-r6.)  To  tune  in  uni- 
son with  another. 

Consoniren  (Ger.)  (k5n-so-?ie-r'n.)  To  harmon- 
ize; to  agree  in  sound. 

Con  sordini  (It.  pi.)  (kon  sor-cZe-ne.)  With  mutes, 
in  violin  playing;  in  pianoforte  music,  urith  dam- 
pers, indicating  that  the  dampers  are  not  to 
be  raised  by  the  pedal;  the  damper  pedal  not  to 
be  used. 

Contano  (It.)  (k6n-fa-n6.)  To  count  or  rest;  a 
term  apphed  to  certain  parts  having  rests  for 
the  time  being,  while  the  other  parts  continue. 

Continued  harmony.  A  harmony  that  does  not 
change,  though  the  bass  varies. 

Continued  rest.     A  long  rest  or  period  of  silence 
for  a  certain  voice  or  instrument  while  others 
40 


^m 


MUSIC   DICTIONARY 

proceed.      A   large   figure   with   or 

without  a  block  under  it  denotes 

the    number    of    measures     to     be 

counted  in  silence. 
Continuo  (It.)   (k6n-<e-noo-o.)     Without  cessation. 
Contra  (It.)  (kon-tTa..)     Low,  under. 
Contra-bass  (It.)  (/con-tra-bas.)     The  double  bass; 

the    deepest-toned    stringed    instrument    of    the 

viol  species.     The  strings  are  usually  tuned  ? 

fourth  apart,  to  the  following  notes 


Ml 


The  contra-bass  sounds  an  octave  lower       ^ 


than  written.     The   ordinary    compass  F^: 
begins  on  the  e  below  staff  and  extends  to  r 


Contra-bassoon.  The  contra-bassoon,  or  double 
bassoon,  is  the  deepest  instrument  of  the 
bassoon  family.  Its  tone  is  powerful  and  solemn. 
Its  compass  is  as  given:  but  it  sounds  an  octave 
deeper.     It  is  the  deepest  instru-  :*: 

ment  that  is  ever  used  in  the  or-  F(^'  '-^ 
chestra.  It  is  found  only  in  large  r^'jj  — j 
scores    and    in    great    orchestras.  b-^' 

See  A.  Elson's  "  Orchestral  Instruments  and  Their 
Use  "  and  Front's  "  The  Orchestra." 

Contraction.  "WTien  two  parts  in  a  fugue  compress 
the  subject,  counter-subject,  or  an  intervening 
subject. 

Contra-fagotto  (It.)  (kdn-tra-ia-got-to.)  The  con- 
tra-bassoon; also,  the  name  of  an  organ-stop  of 
16  or  32-foot  scale. 

Contralto  (It.)  (k6n-^raZ-t5.)  The  deepest  species 
of  female  voice.  It  is  often  used  as  synonymous 
with  alto.     See  Alto. 

Contra-posaune  (Ger.)  {kdn-tTa.-p6-zou-n&.)  A  18 
or  32-foot  reed-stop  in  an  organ. 

Contrappunto  (It.)  (k6n-trap-poon-to.)  Counter- 
point. 

Contrappunto  doppio  (It.)  (k5n-trap-poon-to  ddp~ 
pe-o.)     Double  counterpoint. 

Contrapunkt  (Ger.)  (/(;dn-tra-poonkt.)  Counter- 
point. ( 

Contrary  motion.  Motion  in  an  opposite  direction 
to  some  other  part;  one  rising  as  the  other 
falls. 

41 


MUSIC   DICTIONARY 

Contiedance  (Fr.)  (kontr-dahns.)  A  country  dance; 
a  dance  in  which  the  parties  engaged  stand  in 
two  opposite  ranks.     See  Country  Dance. 

Coperto  (It.)  (ko-'par-tb.)   Covered,  muffled. 

Coppel-flote  (Ger.)  (A;dp-p'l-/^o-t6.)  Coupling  flute; 
an  organ  stop  of  the  clarabella,  or  stopped  dia- 
pason species,  intended  to  be  used  in  combina- 
tion with  some  other  stop. 

Copula  (It.)  (/co-poo-la.)    (    A  coupler;  an  arrange- 

Copule  (Fr.)  {k6-pul.)  S  ment  by  which  two 
rows  of  keys  can  be  connected  together,  or  the 
keys  connected  with  the  pedals;  a  codetta;  a 
connecting  phrase  in  a  fugue. 

Cor  (Fr.)  (kor.)  A  horn;  commonly  called  the 
French  horn. 

Corale  (It.)   (ko-ra-16.)     Choral;    the  plain  chant. 

Cor  Anglais  (Fr.)  (kor  anh-glay.)  English  horn; 
the  tenor  oboe;  also  a  reed  stop  in  an  organ. 
The  compass  of  the  English  horn  is  written 
about  the  same  as  that  of  the  oboe,  but  it  sounds 
a  fifth  deeper  than  notated.  Its  music  is  written 
in  the  treble  clef.  The  tone  being  veiled  and 
mournful,  it  has  been  largely  used  in  imitation 
of  the  shepherd's  pipe,  in  modem  scores.  See 
A.  Elson's  "  Orchestral  Instruments,"  Prout's 
*'  Orchestra,"  etc. 

Corante    (It.)    (ko-ran-tg.)    )  A  dance  in  |  or  ^  time. 

Coranto   (It.)    (ko-ran-to.)    (  See  Courante. 

Corda  (It.)  (A-or-da.)  A  string;  una  corda,  one 
string. 

Cordatura  (It.)  (k6r-da-^oo-ra.)  The  scale  or  series 
of  notes  to  which  the  strings  of  any  instrument 
are  tuned. 

Comet.  Formerly  called  Comet  a  pistons.  A  small 
brass  wind  instrument  with  three  valves  and 
similar  to  the  trumpet,  but  of  slightly  different 
model.  The  cornet  most  used  in  band  and  or- 
chestra, stands  in  Bb  with  a  shank  or  special  valve 
to  lower  the  pitch  to  A.  A  cornet  in  Eb  (above)  has 
been  used  in  brass  bands.  The  tone  is  mellow,  but 
lacks  the  peculiar  ringing  quality  of  trumpet.  The 
ordinary  compass  used  in  modern  works  is  about 


^ 


42 


MUSIC   DICTIONARY' 

with  all  chromatics,  sounding  one  fcotie  deeper 
upon  the  B-flat  comet.  See  Prout's  "  Orchestra," 
OT  A.  Elson's  "  Orchestral  Instruments." 

Echo  Cornet,  Dulciana  Cornet  are  stops  on  the 
organ.  The  Comet  of  Shakspeare's  time  was  a 
Ser-pent  in  smaller  form. 

Comet  stop.  An  organ-stop,  consisting  of  from 
three  to  five  pipes  to  each  note. 

Como  (It.)  (/cor-no.)     A  horn. 

Como  di  bassetto  (It.)  (A;i5r-no  de  bas-sef-to.)  1. 
The  basset  horn.  2.  A  delicate-toned  organ- 
stop  (reed)  of  S-foot  scale. 

Como  Inglese  (It.)  (fcor-no  In-^Za-z5.)  The  English 
horn.     See  Cor  Anglais. 

Cornopean.  An  organ  reed-stop  of  8-foot  scale; 
also,  a  crude  cornet. 

Coro  (It.)  (^o-ro.)  A  choir;  a  chorus;  a  piece  for 
many  voices. 

Corona  (It.)  (ko-ro-na.)     A  pause  or  hold,  ^ 

Corps  (Fr.)  (kor.)  1.  The  body  of  a  musical 
instrument.     2.   A  band  of  musicians. 

Corps  de  ballet  (Fr.)  (kor  dtih  bai-la.)  A  general 
name  for  the  performers  in  a  ballet. 

Corrente  (It.)  (kor-ren-te.)     See  Cordnto: 

Cosaque  (Fr.)  (ko-sak.)     A  Cossack  dance. 

Cotillon  (Fr.)  (ko-te-yonh.)  A  hvely  dance,  simi- 
lar to  the  "  German  ";  a  quadrille. 

Coule  (Fr.)  (koo-ldy.)  A  group  of  two  notes,  con- 
nected by  a  slur. 

Counter.  A  name  given  to  a  part  sung  or  played 
against  another,  as  counter  tenor. 

Counterpoint.  Point  against  point.  The  art  of 
adding  one  or  more  parts  to  a  given  theme  or 
subject.  Before  the  invention  of  notes,  the  vari- 
ous sounds  were  expressed  by  points.  Counter- 
point is  the  support  of  melody  by  melody  in- 
stead of  by  chords  (harmony). 

Counterpoint,  double.  A  counterpart  that  admits 
of  an  inversion  of  two  parts. 

Counterpoint,  quadruple.  Counterpoint  in  four 
parts,  all  of  which  can  invert  above  or  below 
each  other,  in  twenty-fr-ur  different  positions. 

Cotmterpoint,  single.  "Where  the  parts  are  not 
invertible. 

Counterpoint,  triple.  A  counterpoint  in  three  parts, 
all  of  which  can  be  inverted,  making  six  possible 
positions. 

43 


MUSIC   DICTIONARY 

Counter-subject.     The  second  division  in  a  fugue 

coming     against     the     answer    in     the    second 

voice. 
Counter-tenor.     High-tenor;      the     highest     male 

voice.     It  is  generally  a  falsetto. 
Counter  theme.     See  Counter-subject. 
Coimtry  Dance.     Contre-danse   (Fr.);    Contradanza 

(It.).     A  rustic  dance,  of  English  origin,  'j  |  o. 

f    time,    and    sprightly    movement.     Two    lines 

of  dancers  faced  each  other  and  performed  vari- 
ous figures. 
Coup  d'Archet  (Fr.)  (koo  dar-shay.)     A  stroke  of 

the  bow. 
Couper  le  sujet  (Fr.)  (koo-pa  liih  soo-zha.) 
Coupler.     See  Copula. 
Courante    (Fr.)     (koo-ranht.)     Running;     an    old 

dance  in  triple  time;    the  second  number  in  the 

old  Suites  des  Danses.     It  is  in  rapid  tempo. 
Cracovienne  (Fr.)  {ki a.-ko-ve-enn.)     A  Polish  dance 

in  I  (sometimes  erroneously  given  as  f )  rhythm. 
Credo    (Lat.)    (krdy-do.)     I    believe;     one    of    the 

principal  movements  of  the  Mass.     The  Creed. 
Cremona    (It.)    (kre-mo-na.)     An   organ-stop;    the 

name  of  a  superior  make  of  vioUns.     See  Stoe- 

ving's  "  The  Violin." 
Cremom.     A  reed-stop  organ  of  8-foot  scale. 
Crescendo    (It.)    (krg-sAen-do.)     A  word  denoting 

an  increasing  power  of  tone;  it  is  often  indicated 

by  the  sign,  -==. 
Crescendo-zug    (Ger.)     (kve-shen-do-tsoog.)        The 

sweU-box  in  the  organ. 
Crescent.     A  Turkish  instrument  made  of  small 

bells  hung  on  an  inverted  crescent. 

Crotchet.    Old  name  for  the  quarter  note.  |  ' 

Crom-hom  (Ger.)  (fcrom-hSm.)     A  reed-stop  in  an 

organ.     Also  Krum-horn. 
Cromorna-stop.     (kro-mor-na.)    )   A  reed-stop  in  an 
Cromome    (Fr.)     (kro-morn.)      )       organ. 
Crooks.     Small  curved  tubes  to  be  added  to  horns, 

trumpets,  etc.,  to  change  then*  pitch,  and  adapt 

them  to  the  key  of  the  piece  in  which  they  are 

to  be  used. 
Crucifixus  (Lat.)  (kru-si-fix-us.)     Part  of  the  Credo 

in  a  Mass. 
Crwth     (Welsh)     (krtith.)     (En.     Crowd.,    Crowth.) 

An   old   Welsh   instrument,    having   six   strings 
44 


MUSIC   DICTIONARY 

resembling  the  violin.  By  some  the  Crwih  is 
held  to  be  the  progenitor  of  the  viohn. 

Csardas  (Hun.)  (tsdr-d&s.)     Hungarian  dance. 

Cue.  Certain  small  notes  giving  a  prominent 
phrase  of  the  music  to  serve  as  guide  for  the 
entrance  of  the  player  or  singer  after  a  long  rest. 

Cum  Sancto  Spiritu  (Lat.)  (kilm  sdnk-to  spir-1-tu.) 
Part  of  the  Gloria  in  a  Mass. 

Cupo  (It.)  (A:oo-po.)     Dark,  obscure. 

Cycle  forms,  or  Cyclical  forms.  Such  forms  in 
music  as  are  made  up  of  several  complete  forms, 
movements,  or  compositions  placed  in  contrast 
with  each  other.  The  Sonata,  SjTnphony, 
Suite,  String-Quartet,  etc.,  are  examples. 

Cymbals.  Circular  brass  plates  used  in  band  or 
orchestra.     They  originally  came  from  Turkey. 

Cymbale  (Fr.)  (sahm-bal.)  I  A  mixture  organ-stop 

Cymbsl  (Ger.)  {tsim-h'l.)  )  of  a  very  acute  qual- 
ity of  tone. 

Czardas.     See  Csardas. 

D 

D.  The  second  note  in  the  diatonic  scale  of  C; 
the  syllable  re  is  applied  to  this  note.  The 
major  scale  with  two  sharps  in  its  signature. 
Abbreviation  for  '^  Da  "  or  "  Dal,"  as  D,  S.  — 
"  Dal  Segno":   D.  C.  —  "  Da  Capo." 

Da  (It.)  (da.)     By,  from,  for,  through,  etc. 

Da  capo  (It.)  (da  kd-po.)  From  the  beginning; 
an  expression  placed  at  the  end  of  a  movement 
to  indicate  that  the  performer  must  return  to 
the  first  strain.  In  such  a  case  the  repeats  indi- 
cated by  dots  are  generally  not  made  after  D.  C. 

Da  capo  al  fine  (It.)  (da  kd-p6  al  /ee-n6.)  ]  pg+^pj. 

Da  capo,  sin'  al  fine  (It.)  (da  kd-p6  sen  [  .      ,, 
al/ee-ne.)  J 

beginning  and  conclude  with  the  word  Fine. 

Da  capo  e  poi  la  coda  (It.)  (da  A:a-p6  a  po-e  laA^-da.) 
Begin  again  and  then  play  to  the  Coda. 

Da  capo  sin'  al  segno  (It.)  (da  ^-a-po  sen  al  sdn-yo) 
Return  to  the  beginning  and  play  to  the  sign 
■^,  after  which  play  the  coda. 

Dal  (It )  (dal.) 


Dall'  (It.)  (dair  ) 
Dalla  (It )  (ddWa.) 
Dalle  (It )  (ddl-\&.) 
Dallo  (It.)  iddHo.) 


From  the;  by  the,  of  the;  etc. 
15 


MUSIC    DICTIONARY 

Dal  s6gno  (It.)  (dal  san-yo.)  From  the  sign  # 
A  mark  directing  a  repetition  from  the  sign 

Damper  pedal.  That  pedal  in  a  pianoforte  which 
raises  the  dampers  from  the  strings  and  allows 
them  to  vibrate  freely.  Its  use  is  indicated  by 
the  abbreviation  ped.     See  Pedal. 

Dampers.  A  portion  of  the  movable  mechanism 
of  the  pianoforte,  covered  with  felt;  ordinarily 
resting  on  the  strings  to  prevent  undue  vibration 
after  the  not 3  is  struck.  The  mute  of  any  brass 
instrument. 

Dampfen  (Ger.)  (dem-pfgn.)  To  mufHe,  or  deaden 
the  tone  of  an  instrument. 

Danse  (Fr.)  (danhs.)     A  dance  tune. 

Danseuse  (Fr.)  (danh-surse.)     A  female  dancer. 

Danza  (It.)  (dan-tsa,.)        {    *   j„„^„ 

Danza  (Spa.)  (rfan-tha.)    S    ^  ^^^^^• 

Dauer  (Ger.)  (dou-^r.)  The  length  or  duration  of 
tones. 

Daum  (Ger.)  (doum.)     The  thumb. 

D.  C.     The  initials  of  Da  Capo. 

D  dur  (Ger.)  (da-doer.)  D  Major;  the  key  of  D 
major. 

gS!!fe^fl'ty»d^^j    [   Weak,  feeble,  faint. 

Debut  (Fr.)  (da-bli.)  First  appearance;  the  first 
public  performance. 

Debutant    (Fr.)     (du-bii-tanh.)      )  A  singer  or  per- 

Debutante  (Fr.)  (da-bii-tanht.)  (  former  who  ap- 
pears for  the  first  time  before  the  public. 

Decani  (Lat.  pi.)  (d5-fcd-ne.)  In  cathedral  music 
this  term  implies  that  the  passages  thus  marked 
must  be  taken  by  the  singers  on  the  side  of  the 
choir  where  the  Dean  usually  sits. 

Decastich.     A  poem  consisting  of  ten  lines. 

Deceptive  cadence.     See  Cadence,  deceptive. 

Decima  (Lat.)  (des-l-ma..)  A  tenth;  an  interval 
of  ten  degrees  in  the  scale;  also  the  name  of  an 
organ-stop  sounding  the  tenth. 

Decunole.  A  group  of  ten  notes  of  artificial 
value,  equal  to  eight  of  the  natural  notes  of  the 
same  denomination.     See  Note,  Notation. 

Decisive  (It.)  (da-tshe-^e-vo.)  /  In  a  bold   and  de- 

Deciso  (It.)   /da-te/ie-zo  )  )      cided  manner. 

Decke  (Ger.)  (dek-e.)     The  sound  board  of  a  violin, 
violoncello,  etc.;    also  the  cover  or  top  in  tho59 
organ-stops  which  are  covered  or  stopped. 
46 


MUSIC   DICTIONARY 

Declamando  (It.)  (day-kla-man-do.)  With  de- 
clamatory expression. 

Decrescendo  (It.)  (da-kr6-.sAen-d6.)  Gradually  di- 
minishing in  power  of  tone  ==-. 

Degh'  (It.)  (dal-ye.)     Of  the. 

Degree.  The  step  between  two  notes;  also  each 
line  and  space  of  the  staff. 

In  the  study  of  Harmony  each  note  in  the  scale 
of  each  key  has  its  specific  name  as  a  de-gree; 
beginning  with  the  key-note  as  first  degree,  and 
counting  upwards,  line  and  space  alternately  to 
the  octave. 

In  reckoning  intervals,  however,  the  lowest  of 
the  two  notes  under  consideration,  no  matter 
what  its  position  as  a  degree  in  any  particular 
scale  (Harmonic  terminology)  happens  to  be, 
is  reckoned  one  and  we  count  Line  and  space 
alternately  up  to  and  inclusive  of  the  upper  note. 
Thus  c  to  a  or  e  to  c  would  both  be  intervals  of 
a  sixth,  each  including  six  diatonic  degrees  on 
the  staff. 

Dehnen  (Ger.)  (day-nen.)     To  extend,  or  prolong. 

Del  (It.)  (del.)     Of  the. 

Deliberatamente  (It.)  (dS-le-bS-ra-ta-men-t6.)  De- 
liberately. 

Delicatamente  (It.)  (d^\-e-ka,-tsb-men-t&.)     )      Deli- 

Delicato    (del-e-/ca-to.)  ) 

cately,  smoothly. 

Delirio  (It.)  (dS-i^re-o.)     Frenzy,  excitement. 

Delivery.  The  act  of  controlling  the  respiration 
and  using  the  vocal  organs  so  as  to  produce  a 
good  tone. 

Dell'  (It.)  (dell.)      ] 

Delia  (It.)  (deZ-la.)        ^r  .,      .      -j..   _,. 

DeUe  (It.)  idel-le.)        ^^  *^^'  ^^  ^^®'  ^^^• 

DeUo  (It.)  {del-lo.)  J 

Dem  (Ger.)  (dgm.)     To  the. 

Demi  (Fr.)  (d^me.)     Half. 

Demi-cadence  (Fr.)  (de-me  ks.-ddnhs.)  A  half 
cadence,  or  cadence  on  the  dominant. 

Demi-semiquaver.     A  32d  note    §  or  thus  g. 

De  profundis  (Lat.)   (d6-pro-/wri-dIs.)     One  of  the 

seven  penitential  psalms. 
Derivative  chords.     Chords  derived  from  others  by 

inversion. 
Des  (Ger.)  (dgs.)     The  note  D  flat. 
47 


MUSIC   DICTIONARY 

Descant,  Discantus  (Lat.)  1.  The  addition  of  a 
part  or  parts  to  a  tenor  or  subject.  This  art, 
the  forerunner  of  modern  counterpoint  and  har- 
mony, grew  out  of  the  still  earlier  art  <f^  diaphony 
or  the  organum.  In  the  latter  the  parts  ran 
in  parallel  motion,  generally  in  consecutive  fifths 
or  fourths,  but  in  descant,  oblique  and  contrary 
motion  of  parts  began  to  appear  as  early  as  the 
eleventh  or  twelfth  century.  2.  Descant  or  dis- 
cant  is  the  treble  or  soprano  voice. 

Des  dur  (Gr.)  (d6s-doer.)     D  flat  major. 

Des  moU  (Ger.)  (d6s  m6ll.)  The  key  of  D  flat 
minor. 

Desterita  (It.)  (das-ter-e-/a.)     Dexterity. 

Desto  (It.)  (des-to.)     Brisk,  sprightly. 

Destra  (It.)  (cZcs-tra.)  Right;  destra  mdno,  the 
right  hand. 

Detache  (Fr.)  (da-ta-shay.)  Detached,  staccato. 
Used  in  violin  music. 

Determinate  (It.)  (da-tgr-me-na-to.)  Determined, 
resolute. 

Detto  (It.)  (dat-to.)     The  same. 

Deux  (Fr.)  (du.)     Two. 

Development.  The  elaboration  of  a  theme  by 
making  new  combinations  of  its  figures  and 
phrases.  It  forms  a  most  important  part  in 
symphony  and  sonata.     Ger.  Durchfiihrung. 

Devoto  (It.)  (da-yo-to.)     Devout,  rehgious. 

Devozione,  con.  (It.)  (da-vo-tse-o-n6,  k6n.)  Devo- 
tion; religious  feeling. 

Dextra  (Lat.)  (dex-tra.)     The  right;  right  hand. 

Di  (It.)  (de.)     Of,  with,  for,  from,  to. 

Dia  (Gr.)  (di-si.)     Through,  throughout. 

Diapase  (Gr.)  (de-a-pa-s6.)     Diapason. 

2.  Among  musical  instrument  makers,  a  rule 
or  scale  by  which  they  adjust  the  pipes  of  organs, 
the  holes  of  flutes,  etc.,  in  order  to  give  the  proper 
proportion  for  expressing  the  tones  and  semi- 
tones. 3.  The  two  foundation  stops  in  an  organ 
(sometimes  called  Principal)  —  the  open  dia- 
pason and  the  stopped  diapason.  4.  Fixed 
pitch;  normal  diapason;  a  recognized  standard  of 
pitch.  See  Pitch. 
Diatonic  (Gr.  origin)  (de-a-^on-Ik.)  Naturally;  pro- 
ceeding in  the  order  of  the  degrees  of  the  natural 
48 


MUSIC   DICTIONARY 

scale,  including  tones  and  semi-tones,  as  es- 
tablished in  the  Key  of  C,  or  in  any  Key  according 
to  its  Key-signature. 

Diatonic  scale.  The  different  gradations  of  tone 
of  the  scale  arranged  in  proper  order  in  conform- 
ity to  some  particular  key. 

Diatonic  scale,  major.  Where  the  semi-tones  fall 
between  the  third  and  fourth  and  seventh  and 
eighth,  both  in  ascending  and  descending. 

Diatonic  scale,  minor.  That  in  which  the  semi- 
tones occur  between  the  second  and  third  and 
seventh  and  eighth  ascending,  and  between  the 
fifth  and  sixth  and  second  and  third  descending. 
See  Scale. 

Diese  (Fr.)  (dee-ez.)     A  sharp  (i^). 

Diese,  double  (Fr.)  (dee-az,  doobl.)  A  double 
sharp  (^). 

Dies  irae  (Lat.)  (dee-aze-ra.)  "The  Day  of 
Wrath,"  the  Judgment-day.  A  principal  move- 
ment in  a  requiem. 

Diesis  (Gr.  and  It.)  (de-d2/-sis.)   |^  In  modern  music 

Diesis  (Fr.)  (dee-ez-sTs.)  \       means  a  sharp. 

Difficile  (It.)  (def-/e-tslie-lg.)     Difficult. 

Dignita  (It.)  (den-ye-ia.)     Dignity,  grandeur. 

Dilettante  (It.)  (de-l6t-^dn/i-te.)  A  lover  of  art; 
an  amateur. 

Diligenza,  con  (It.)  (de-le-ye72-tsa,  k6n.)  In  a 
diligent  and  careful  manner. 

Diluendo  (It.)  (de-loo-en-do.)  Diminishing;  a 
gradual  dying  away  of  the  tone  until  it  is 
extinct. 

Diminished.  This  word  is  applied  to  intervals, 
which  are  less  than  minor  or  perfect  inter^ 
vals. 

Diminished  chords.  Chords  that  have  a  dimin- 
ished interval  between  their  highest  and  lowest 
notes. 

Diminuendo  (It.)  (de-me-noo-e?7-do.)  Diminishing 
gradually  the  intensity  or  power  of  the  tone. 

Diminution.  In  counterpoint  this  means  the  imi- 
tation of  a  given  subject  or  theme,  in  notes  oi 
shorter  length  or  duration;  in  opposition  to 
augmentation. 

Di  molto  (It.)  (de  mol-to.)  Very  much;  an  ex- 
pression which  serves  to  augment  the  meaning 
of  the  word  to  which  it  is  applied. 

Direct.  A  mark  sometimes  placed  at  the  end  of 
49 


MUSIC  DICTIONAKT 


a  staff;  a  phrase  or  figure  to  indicate  the  note  next 
following  (^). 


m 


-I ^ M' -ml ^- 


Direct  motion.  Similar  or  parallel  motion;  the 
parts  rising  or  falling  in  the  same  direction. 

Dirge.  A  musical  composition,  either  vocal  or 
instrumental,  designed  to  be  performed  at  a 
funeral,  or  in  commemoration  of  the  dead. 

Diritta  (It.)  (de-ref-ta.)  Direct;  straight  on,  in 
ascending  or  descending  intervals. 

Dis  (Ger.)  (des.)     The  note  D^. 

Discant.     See  Descant. 

Discantus  (Lat.)  (dls-/ca?i-tu3.)     Descant. 

Disciolto  (It.)  (di-she-oi-to.)     Skilful,  dexterous. 

Discord.  A  dissonant  or  inharmonious  com- 
bination of  sounds.  In  strict  harmony  it  re- 
quires to  be  resolved  or  proceed  to  a  concord  in 
order  to  satisfy  the  ear. 

Discord,  prepared.  Where  the  discordant  note  has 
been  held  over  from  a  previous  concord. 

Discreto  (It.)  (dis-/cra-to.)     Discreetly. 

Dis-dis  ((jer.)  (diss-diss.)     D  -^  also  called  disis. 

Disinvolto  (It.)  (diz-en-yoZ-to.)  I    q^ 

Disinvolturato    (It.)    (diz-en-v6l-too-m-to.)   ) 
hand;  bold;  not  forced;  naturally. 

Disjunct  succession.     Progressing  by  skips. 

Dis  moll.     (Ger.)  (dis-mol.)     The  key  of  D?t  minor. 

Di  sopra  (It.)     (de  so-pra.)     Above. 

Disperato   (It.)    (dez-p6-rd-to.)     With  desperation. 

Dispersed  harmony.  Harmony  in  which  the  notes 
forming  the  various  chords  are  separated  from 
each  other  l^y  wide  intervals. 

Dissonance.     See  Discord. 

Distinto  (It.)  (des-fm-to.)     Clear;  distinct. 

Divertimento  (It.)  (de-v€r-te-we-n-to.)  A  short, 
light  composition,  written  in  a  pleasing  and 
familiar  style;  a  series  of  airs  and  dances  intro- 
duced between  the  acts  or  at  the  conclusion  of 
an  opera;  also,  an  instrumental  composition  like 
the  suite,  of  several  short  movements. 

Divided  accompaniment.     A  form  of   accompani- 
ment in  which  the  intervals  are  taken  by  both 
hands  in  pianoforte  playing. 
50 


MUSIC    DICTIONARY 

Divisi  (It.)  (di-ye-ze.)  Divided,  separated.  In 
orchestral  parts  this  word  implies  that  one-half 
the  performers  must  play  the  upper  notes  and 
the  others  the  lower  notes.  The  term  has  a 
similar  meaning  when  it  occurs  in  vocal  music. 

Divotainente  (I_t0_(de-vo-ta-meri-t6.)    I  g      ^ 

Divoto  (It.)   (de-yo-to.)  \ 

Dixieme  (Fr.)  (dez-I-am.)  The  tenth,  or  octave  to 
the  third. 

D  moll  (Ger.)  (da-moll.)     The  key  of  D  minor. 

Do  (It.)  (do.)  A  syllable  applied  to  the  first  note 
of  a  scale  in  solfaing.  In  the  "  fixed  Do  "  sys- 
tem, Do  is  always  C,  but  in  the  "  movable  Do," 
it  always  represents  the  key-note,  whether  that 
note  is  C  or  not.  In  the  "  tonic-sol-fa  "  system  it 
is  movable  and  is  spelt  "  Doh."  See  Tonic 
Sol-fa,  and  Aretinian  Syllables. 

Doctor  of  Music.  The  highest  musical  degree  con- 
ferred by  the  universities.  This  degree  is  not 
confierred  in  Germany.  See  Grove's  Dictionarij, 
article  *'  Degrees  in  Music." 

Doigt  (Fr.)  (dwa.)     Finger. 

Dolcan.  An  organ-stop  of  8-foot  scale,  the  pipes 
of  which  are  of  larger  diameter  at  the  top  than  at 
the  bottom.     The  dulciana. 

Dolce  (It.)  (dO/J-tshS.)  Sweetly,  softly,  deli- 
cately. 

Dolcezza  (It.)  (dol-isAei-za.)  Sweetness;  softness 
of  tone. 

Dolciano  (It.)  (dol-tshe-cJ-no.)  )  A    small    bassoon, 

Dolclno  (It.)  (dol-^s/ie-no.)  )  formerly  much  used 
as  a  tenor  to  the  oboe.  A  reed-stop  (8  or  16-foot 
tone)  in  the  organ. 

Dolent  (Fr.)  (do-lanh.)       )    Sorrowful,     mournful, 

Dolente  (It.)  {db-len-lQ.)    S        pathetic. 

Dolentemente  (It.)  (do-lan-te-we?2-tS.)  Sorrow- 
fully, mournfully. 

Dolore  (It.)  (do-io-re.)     Grief,  sorrow. 

Dolorosamente  (It.)  (do-lo-ro-za-men-t6.)    )    nnlr^r 

Doloroso  (It.)  (do-16-ro-zo.)  S 

ously,  sorrowfully,  sadly. 

Dominant.  The  name  applied  by  theorists  to 
the  fifth  note  of  the  scale. 

Dominant  chord.  A  chord  founded  on  the  dominant 
or  fifth  note  of  the  scale. 

Dominant  harmony.  Harmony  on  the  dominant 
or  fifth  of  the  key. 

51 


MUSIC   DICTIONARY 

Dona  n6bis  pacem  (Lat.)  {do-na.  no~bla  pdt-s&m.') 
The  concluding  movement  of  the  Mass. 

Donna  (It.)  (don-na.)  Lady;  appHed  to  the  prin- 
cipal female  singers  in  an  opera. 

Dope  (It.)  (do-po.)     After. 

Doppel  (Ger.)  (dop-p'l.)     Double. 

Doppel-Be  (Ger.)  (dop-p'l  ba.)  A  double  flat 
(bb);   lowering  a  note  two  half-steps. 

Doppelgriffe  (Ger.)  {ddp-p'\-grif-ie.)  Double-stop 
on  the  violin,  etc. 

Doppelkreuz  (Ger.)  (c^op-p'1-kroitz.)  A  double 
sharp  X  or  x,  raising  a  note  two  half-steps. 

Doppio  (It.)  (dop-pe-o.)  Double;  twofold;  some- 
times indicating  that  octaves  are  to  be  played. 

Doppio  movimento  (It.)  {ddp-pe-6  md~ve-men-t6.) 
Double-movement,  of  time,  that  is,  tvnce  as  fast. 

Doppio  pedale  (It.)  (dop-pe-6  p&-dd-\&.)  Playing 
two  notes  on  the  pedals  of  organ  at  same  time, 
generally  octaves. 

Dot.  A  mark  which,  when  placed  after  a  note, 
increases  its  duration  one-half.  When  the  dot 
is  placed  over  a  note  it  signifies  that  the  note  ia 
to  be  played  staccato. 

Double  (Fr.)  (dooblh.)  The  old  name  for  a  vari' 
ation;  used  by  Handel,  Scarlatti,  etc. 

Double  bar.  Two  strokes  drawn  down  through 
the  staff,  to  divide  one  strain  or  movement  from 
another.  The  heavy  double  bar  terminates  the 
piece  finally. 

Double-bass.     See  Contra-bass. 

Double-bassoon.  See  Contra-hassoon;  also,  a  16  or 
32-foot  organ  reed-stop,  of  smaller  scale  and 
softer  tone  than  the  double  trumpet. 

Double  counterpoint.  A  counterpoint  which  ad- 
mits of  the  parts  being  inverted. 

Double  diapason.  An  organ-stop  tuned  an  octave 
below  the  diapasons.  It  is  called  a  16-foot  stop 
on  the  manuals;  on  the  pedals  it  is  a  32-foot 
stop. 

Double  dot.  Two  dots  placed  after  a  note  increase 
its  duration  by  three-fourths  of  its  original  value. 

Double  flat.  A  character  (bb)  which,  placed  before 
a  note,  signifies  that  it  is  lowered  two  half-steps. 

Double  note.     A  breve;   a  note  twice  the      |^| 
length  of  a  whole  note.  : 

Double  quartet.  A  composition  wi'itten  for  eight 
instruments  or  voices. 

52 


MUSIC   DICTIONARY 

Double  reed.  The  mouth-piece  of  the  hautboy 
bassoon,  etc.,  formed  of  two  pieces  of  cane  joined 
together. 

Double  sharp.  A  character  which  when  placed  be- 
fore a  note,  raises  that  note  two  half-steps.  It 
is  usually  written  as  follows:  x  or  x. 

Double  stem.  When  two  voice  parts  written  on 
one  staff  sound  the  same  note  in  unison,  the  note 
is  stemmed  up  and  down. 

Double-stopped  diapason.  An  organ-stop  of  16- 
foot  tone  on  the  manuals;  the  pipes  are  stopped 
or  covered  at  the  top. 

Double  stopping.  The  stopping  of  two  strings 
simultaneously  with  the  fingers  in  violin,  etc., 
playing. 

Double  tierce.  An  organ-stop  tuned  a  tenth  above 
the  diapasons,  or  a  major  third  above  the  prin- 
cipal. 

Double-time.  A  time  in  which  every  measure  is 
composed  of  two  equal  parts. 

Double-tonguing.  A  method  of  articulating  quick 
notes  used  by  flute  and  brass  instrument  play- 
ers. 

Doucement  (Fr.)  (doos-miinh.)  Sweetly,  softly, 
pleasingly. 

Douleur  (Fr.)  (doo-lur.)     Grief,  sorrow,  pathos. 

Doux  (Fr.)  (doo.)     Sweet,  soft,  gentle. 

Down  bow  sign.  A  sign  used  in  violin  music  in- 
dicating that  the  bow  is  to  be  drawn  down; 
thus,    I    I 

Doxology.  A  form  of  praise  sung  in  divine  service, 
usually  at  the  close  of  a  prayer,  psalm,  or  hymn; 
the  Gloria  Patri,  used  at  the  end  of  the  psalms  in 
the  Christian  Church;  also  any  metrical  form  of 
the  same. 

Drammatico  (It.)  (dram-wa-te-ko.)     Dramatic. 

Draw-stops.  In  an  organ,  stops  placed  on  each 
side  of  the  rows  of  keys  by  moving  which  the 
player  opens  or  closes  the  stops  v/ithin  the  organ. 

Drei  (Ger.)  (dri.)     Three. 

Dreifach  (Ger.)  (^n-fakh.)     Three-fold,  triple. 

Dreist  (Ger.)  (drist.)     Brave,  bold,  confident. 

Dritta  (It.)  (drlt-tsi.)        )   Right;    mdno  dritta,  the 

Dritto     (It.)     (drit-to.)   f       right  hand. 

Dritte  (Ger.)  {drit-t&.)     Third. 

Droite  (Fr.)  (drwat.)  Right;  maiii  draite,  the 
right  hand. 

53 


MUSIC   DICTIONARY 

Drone.  The  largest  of  the  three  tubes  of  the 
bagpipe.  It  only  sounds  one  deep  note,  which 
answers  as  a  perpetual  bass  to  every  tune.  Drone- 
bass,  a  bass  on  the  tonic,  or  tonic  and  dominant, 
which  is  persistent  throughout  a  movement  or 
piece,  as  in  the  Musette. 

Drum.  An  instrument  of  percussion  formed  of  a 
cyhnder  made  of  thin  wood  or  metal,  over  each 
end  of  which  is  drawn  a  skin  tightened  by  means 
of  cords.  There  are  three  kinds  of  drums: 
1.  The  bass  drum,  held  laterally  and  played 
with  a  stuffed  knob  drumstick.  2.  The  side- 
drum  having  two  heads,  the  upper  one  only  being 
played  upon  by  two  sticks  of  wood;  the  lower  head 
has  occasionally  strings  of  catgut  stretched  over 
its  surface,  and  then  it  is  called  a  snare-drum. 
3.  The  kettledrum,  always  employed  in  pairs  or 
threes. 

Drum,  kettle.  A  drum  consisting  of  a  cup-shaped 
shell  of  copper,  over  which  a  parchment  head  is 
stretched.  It  is  used  as  an  instrument  of  def- 
inite pitch,  tuning  keys  being  provided  to  raise 
or  lower  the  sound  by  tightening  or  loosening 
the  parchment  head.  Two  or  three  drums  are 
used    and    between   them   have    a    compass  of 


§       I       1^=^.     See  Front's  "The  Orchestra" 


or   Arthur    Elson's    "  Orchestral    Instruments. " 

D.  S.     The  initials  of  Dal  Segno. 

Due  corde  (It.)  {doo-&  kur-d&.)  Two  strings.  See 
A  due  Corde. 

Due  pedali  (It.)  {doo-^  pg-da-le.)  The  two  pedals 
are  to  be  used. 

Duet.  A  composition  for  two  voices  or  instru- 
ments. 

Due  volte  (It.)  {doo-^  t'oZ-te.)     Twice. 

Dulciana-stop.  An  8-foot  organ-stop  of  a  soft  and 
sweet  quality  of  tone. 

Dulciana  principal.  A  4-foot  organ-stop  of  deli- 
cate tone. 

Dulcimer.  An  instrument  usually  of  a  triangular 
shape,  the  strings  of  which  are  struck  wi^h  little 
rods  held  in  each  hand. 

Dumka  (Bohem.)  (doow-kah.)  A  dirge,  an  elegy, 
or  a  funeral  song.  It  has  been  introduced  into 
i*-he  symphony  by  Dvorak.  It  possibly  gave  rise 
54 


MUSIC   DIGTIONARY 

to  the  early  English  slow  dance  called  the  dump 
or  dumpe,  and  mentioned  by  Shakespeare. 

Dump  or  Dumpe.  The  name  of  an  old  dance 
in  slow  time  with  a  peculiar  rhythm,  usually 
in  I  rhythm.  See  Elson's  "  Shakespeare  in 
Music." 

Duo  (It.)  (doo-o.)  Two;  in  two  parts;  a  compo- 
sition for  two  voices  or  instruments;  a  duet. 

Duodecima  (It.)  (doo-o-de-tshe-ma.)  The  twelfth 
note  from  the  tonic;  also  an  organ-stop  tuned 
a  twelfth  above  the  diapasons. 

Duoio  (It.)  {dwd-l6.)     Sorrow,  sadness,  grief. 

DupUcation.  Doubhng;  where  one  or  more  of  the 
intervals  of  a  chord  are  repeated  in  different 
parts. 

Dur  (Ger.)  (doer.)  Major,  in  speaking  of  keys  and 
modes;  as  C  dur,  C  major. 

Dur  (Fr.)  (diir.)     Hard;  harsh  of  tone. 

Diyamente  (It.)  (doo-ra-wen-te.)  Harshly; 
roughly;  also  meaning  that  the  passage  is  to 
be  played  in  a  firm,  bold  style  and  strongly  ac- 
cented. 

Durchspielen  (Ger.)  (door A; A-spe-l'n.)  To  play  to 
the  end. 

Duro  (It.)  (ddo-vo.)     Rude,  harsh. 

Duster  (Ger.)  {dus-t&r.)     Gloomy. 

Dynamics.  This  term  in  music  has  reference  to 
expression  and  the  different  degrees  of  power 
to  be  applied  to  notes. 


E 

E  called  in  France  and  Italy  mi;    the  third  note 

of  the  scale  of  C.     Name  of  a  string  on  the  violin 

and  guitar. 
E.  Ed  (Jt.)  And. 
Ebollimento   or  Ebollizione    (It.)    (eh-bol-litz-ee-o- 

neh.)       Boiling     over;     sudden     expression     of 

passion. 
Eccheggiare  (It.)  (6k-k6d-je-a-r6.)     To  resound,  to 

echo. 
Ecclesia  fit.)  (ek-/:Za-ze-a.)     Church. 
Ecclesiastical  modes.     See  Gregorian  modes. 
Echelle  (Fr.)  (a-shell.)     The  scale,  or  gamut. 
Echo    (Fr.)    (a-ko.)     |    In  music,  this  term  means 
Eco    (It.)       (a-ko.)    )    a    repetition,    or   imitatioo 
55 


MUSIC   DICTIONARY 

of  a  previous  passage,  with  much  less  force  than 
the  original  passage. 

Echo  comet.  An  organ-stop,  the  pipes  of  which 
are  of  small  scale,  with  a  light,  delicate  tone. 
It  is  usually  olaced  in  the  swell. 

Eclat  (Fr.)  (a-kla.)  With  dash;  brilliancy;  an 
outburst. 

Eclogue  or  Eglogue  (from  Greek,  to  select.)  A 
pastoral;  a  poem,  or  song,  in  which  shepherds 
and  shepherdesses  are  the  actors. 

iScole  (Fr.)  (a-kol.)  A  school;  a  method  or  course 
of  instruction;  a  style  formed  by  some  eminent 
artist. 

Ecole  de  chant  (Fr.)  (a-kol  duh  shanh.)     A  singing- 

^  school. 

Ecossais  (Fr.)  (a-kos-sa.)      /Scotch;  a  dance,  tune 

Ecossaise  (Fr.)  (a-kos-saz.)  )  or  air,  in  the  Scotch 
stj'le.  A  contra-dance  of  lively  tempo  in  | 
rhythm. 

Edel  (Ger.)  (a?/-del.)     Noble  and  distinguished. 

E  dur  (Ger.)  (a  doer.)     The  key  of  E  major. 

Effetto  (It.)  (ef-/e/-to.)  Effect;  the  effect  of  music 
upon  an  audience. 

Eguale  (It.)  {a,-gwd-\e.)  Equal;  even;  alike,  also 
applied  to  a  composition  for  several  voices  or 
instruments  of  one  kind,  as,  male  voices  only, 
trombones  only. 

Egualmente  (It.)  (a-gwal-wen-t6.)  Equally,  even- 
ly, alike. 

Eighth.     An  octave. 

Eilen  (Ger)  (i-ler.)  To  hasten;  accelerate;  go 
faster  .  .  .  Eilend,  hastening;  accelerando,  stringen- 
do  .  .  .  Eilig,  hasty;  in  a  hurried  style;  rapid; 
swift. 

Em  (Ger.)  (eyn.)         )     , 

Eine  (Ger.)  {eyn-^.)    S    ^'  ^"'  °°®- 

Einen  (Ger.)  {eyn-en.)     A,  one. 

Einfach  (Ger.)  (eyn-fakh.)  Simple,  plain,  orna- 
mented. 

Eingang  (Ger.)  (e?/7i-gang.)  Introduction,  preface, 
prelude. 

Einhalt  (Ger.)  (e?/?i-halt.)     A  pause. 

Einheit  (Ger.)  {eyn-h\t.)     Unity. 

Einigkeit  (Ger.)  (ez/n-nig-kit.)  Concord,  harmony, 
unity. 

Einklang  (Ger.)  (eyn-klang.)  Consonance,  har- 
mony. 

56 


RnJSIC   DICTIONARY 

Einlage  (Ger.)  {eyd-lahge.)  An  inserted  piece,  an 
interpolation. 

Einleitung  (Ger.)  (ej/n-ll-toong.)  Introduction, 
prelude. 

Einmal  (Ger.)  (eyn-maX.)     Once. 

Einschiafen  (Ger.)  (ej/n-shla-f n.)  To  die  away, 
to  slacken  the  time  and  diminish  the  tone;  to 
fall  asleep. 

Einschmeichelnd  (Ger.)  (c7/n-shmi-kh6lnd.)  Flat- 
tering, insinuating. 

Einstimmen  (Ger.)  (e?/72-stim-m'n.)  To  agree  in 
tune;  to  be  concordant ;  to  join  in. 

Eintonig  (Ger.)  (eyn-to-mg.)     Monotonous. 

Eintracht  (Ger.)  {eyn-tTiikht.)     Concord,  unity. 

Eintretend  (Ger.)  (ez/n-tra-tend.)  Entering,  be- 
ginning. 

Eintritt  (Ger.)  (eyti-tnt.)  Entrance,  entry,  be- 
ginning. 

Eis  (Ger.)  (ais.)     The  note  E  sharp. 

Eisis.     E  double  sharp. 

Eisteddfod  (Ris-tedh-vod.)  (Welsh.)  A  bardic  con- 
gress;  an  assemblage  of  bards. 

Elegante  (It.)  (a.-\ix-g(in-te.)     Elegant,  graceful. 

Eleganza  (It.)  {a-lii-gdn-tsii.)     Elegance,  grace. 

Elegia  (It.)  (a-la-je-a.)  An  elegy,  or  monody  music 
of  a  mournful  or  funereal  character. 

Elegiaco  (It.)  (a-ia-je-a-ko.)  Mournful,  plain- 
tive. 

Elegy.  A  mournful  or  plaintive  poem,  or  a  funeral 
song. 

Elementary  music.  Exercises  and  studies  3pe- 
cially  adapted  to  beginners  in  the  study  of 
music. 

Elevation.  A  motet  or  organ  piece  played  or 
sung,  in  the  Catholic  service,  during  the  eleva- 
tion of  the  Host,  in  the  x\Ias3. 

Elevate  (It.)  (a-la-ya-to.)  Elevated,  exalted,  sub- 
lime. 

Elevazione  (It.)  (a-la-va-tse-o-nS.)  Elevation,  gi-an- 
deur. 

Eleventh.  An  interval  measuring  eleven  dia- 
tonic degrees. 

Embellishments.     See  Grace. 

Embouchure    (Fr.)    (anh-boo-shiir.)     The    mouth- 
piece of    a    flute,    o!3oe,    horn,    or    other    wind 
instrument.     The   part    of   the    lips   brought   in 
contact  with  the  mouth-piece;  also  called  Lip. 
57 


MUSIC   DICTIONARY 

E  moll  (Ger.)  (a  moll.)     The  key  of  E  minor. 

Emozione  (It.)  (a-mo-tse-o-ne.)  Emotion,  agi- 
tation. 

Empfindung  (Ger.)  (Smp-/irt--doong,)  Emotion,  pas- 
sion, feeling. 

Emphase  (Ger.)  (gm-/d-ze.)     Emphasis. 

Emphatique     (Fr.)     (anh-fa-tek.)    I    Emphatical. 

Emphatisch    (Ger.)    (gm-/a-tisn.)    )  ^ 

En  (Fr.)  (anh.)     In. 

Encore  (Fr.  ang-kor;  It.  Ancora.)  Again;  a 
demand  for  the  reappearance  of  a  performer; 
the  piece  sung  or  played  on  the  reappearance  of 
the  performer. 

Ende  (Ger.)  (end-e.)  End;  conclusion;  concluding 
piece. 

Energicamente  (It.)  (a-nair-je-ka-men-t6.)  Ener- 
getically, forcibly. 

Energico  (It.)  (a-nair-je-ko.)  Energetic,  vigorous, 
forcible. 

Energique    (Fr.)     (a-nair-zhek.)    )  Energetic;  with 

Energisch    (Ger.)    (en-ar-ghish.)    )      emphasis. 

Enfatico  (It.)  (6n-/a-te-ko.)  Emphatical;  with 
earnestness. 

Enfier  (Fr.)  (anh-fla.)  To  swell;  to  increase  the 
tone. 

English  fingering.  In  pianoforte  music  the  use  of 
a  sign  (x)  to  designa.te  the  thumb,  in  distinction 
from  the  German  fingering,  where  the  thumb  is 
designated  as  the  first  finger.  ErroneoiKly  called 
American  fingering.     See  Fingering. 

English  horn.     See  Cor  Anglais. 

Enharmonic.  In  modern  music  it  means  writing 
the  same   sound  in   two  ^->. 

different  ways  when  Fv^  '  h'3~['$^~^' 
changing  from  one  key  fc^-f^_3^=^^— 
to  another,   thus:  •^ 

Enharmonic  change.  A  passage  in  which  the 
notation  is  changed,  but  the  same  keys  of  the 
instrument  are  employed: 


g^a^agEE^  »tc. 


Ensemble  (Fr.)  (anh-sa?i/i-bl.)     Together;  the  whole, 
applied  to   concerted  music  when  the  whole  is 
given    with    perfect    smoothness    of    style.     It 
58 


MUSIC   DICTIONARY 

means  precision  of  attack;  unity  of  shading. 
A  morceau  d'ensemhle  is  a  composition  for  two  or 
more  parts,  more  especially  quintets,  sextets, 
septets,  etc.,  in  an  opera,  oratorio,  or  similar 
work. 

Entr'  acta  (Fr.)  (anh-tr'  akt.)  Between  the  acts; 
music  played  between  the  acts  of  a  drama. 

Entscheidung  (Ger.)  (ent-s/ii-doong.)  Decision, 
determination. 

Entschlafen  (Ger.)  (Snt-s/i?a-f'n.)     See  Einschlafen. 

Entschiossen  (Ger.)  (Snt-sA/!os-s'n.)  Determined, 
resolute. 

Entschluss  (Ger.)  {&nt-shlooss.)     Resolution. 

Entusiasmo    (It.)    (gn-too-ze-as-mo.)     Enthusiasm. 

Entwurf  (Ger.)  (Snt-voor/.)  Sketch;  outline  of  a 
composition.     The  exposition  of  a  fugue. 

Enunciare  (It.)  (a-noon-tshe-d-r6.)  To  enunciate; 
to  declare;  to  proclaim. 

Epico  (It.)  (a-pe-ko.)     Epic,  heroic. 

Epilogue.  A  speech  or  short  poem  addressed  to 
the  spectators  by  one  of  the  actore,  after  the 
conclusion  of  the  play.     A  concluding  piece. 

Episode.  An  incidental  narrative  or  digression. 
A  portion  of  a  composition  not  founded  upon 
the  principal  subject  or  theme.  An  accessory- 
part  of  a  composition,  as  contrasted  with  the 
themes  and  their  development.  An  interme- 
diate division.  The  parts  of  a  fugue  that  inter- 
vene between  the  repetitions  of  the  main  theme. 

Equabile  (It.)  (e-gua-be-le.)  Equal,  alike,  uni- 
form. 

Equabihnente  (It.)  (S-qua-bel-T/ien-tS.)  Equally, 
smoothly,  evenly. 

Equal  counterpoint.  A  composition  in  two,  three, 
four,  or  more  parts,  consisting  of  notes  of  equal 
duration. 

Equal  temperament.  That  equalization,  or  tem- 
pering, of  the  different  sounds  of  an  octave  which 
renders  them  all  of  an  equal  degree  of  purity; 
the  imperfection  being  divided  among  the  whole. 
The  division  of  the  octave  into  twelve  equal  semi- 
tones.    See  Temperament. 

Erhaben  (Ger.)  (er-/ia-b'n.)  Elevated;  sublime; 
in  a  lofty  and  exalted  style. 

Erkiingen  (Ger.)  (eT-kling-&n.)  To  ring;  to  re- 
sound. 

Emiattet  (Ger.)  (er-nid/i-tet.)  Wearied,  exhausted. 
59 


MUSIC   DICTIONARY 

Ennuntenmg  (Ger.)  /'er-moon-te-roong.)  Anima- 
tion, excitement. 

Ernst  (Ger.)  (airnst.)  )   Earnest;  serious;  in 

Emsthaft  (Ger.)(air«s^-haft.)  )  a  grave  and  earnest 
style. 

Emtelied  (Ger.)  (drri-tS-led.)     Harvest  song. 

Eroica  (It.)  (e-ro-e-ka.)     Heroic. 

Erotic  (er-o^ik.)  An  amorous  composition,  a  love 
song. 

Erst  (Ger.)  (arst.)     First. 

Erweckimg  (Ger.)  (er-vek-oong.)  Animation,  ex- 
citement. 

Erweitert  (Ger.)  (er-w-tert.)  Expanded,  devel- 
oped, extended. 

Es  (Ger.)     The  note  E  flat. 

Es  dur  (Ger.)  (ess  doer.)  The  key  of  E  flat 
major. 

Es  es  (Ger.)  (ess  ess.)  The  note  E  double-flat 
(Ebb). 

Esitamento    (It.)    (a-zee-ta-men-to.)     Hesitation. 

Es  moll  (Ger.)  (ess  moll.)  The  key  of  E  flat 
minor. 

Espagnol  (Fi*.)  (es-p&n-yul.)  )    Spanish;     in 

Espagnuolo  (It.)  (es-piin-yoo-o-l6.)  (  the  Spanish 
style. 

Espirando  (It.)  (es-pee-ran-do.)  Breathing  deeply; 
gasping. 

Espressione  (It.)  (es-pres-se-o-nS.)  Expression,  feel- 
ing. 

Espressivo  (It.)  (es-pres-see-vo.)  Expressive;  to 
be  played  or  sung  with  expression. 

Estinto  (It.)  (es-^en-to.)  Becoming  extinct;  dying 
away  in  time  and  strength  of  tone;  extinguished. 

Estravagante  (It.)  (es-trav-a-^an-tg.)  Extravagant; 
a  fanciful  and  extravagant  work. 

Estremamente  (It.)  (es-tra-ma-?nen-t6.)    Extremely. 

Esultazione  (It.)  (ay-zool-tat-se-o-ne.)     Exultation. 

Et  (Lat.  ef;   Fr.  a.)     And. 

Et  incamatus  (Lat.)  (et  In-kiir-na-ttis.)  A  portion 
of  the  Credo,  in  the  Mass. 

Kt  resurrexit  (Lat.)  (et  ray-zur-rex-it.)  A  brilliant 
part  of  the  Credo,  in  the  Mass. 

Etta  (It.)  (et-t'A.)    )    Little;    an  Italian  final  dimin- 

Etto  (It.)  (e^to.)  S  utive;  as  Trombetta,  a  little 
trumpet,  Adagietto,  a  little  adagio. 

£tud(  (Fr.)  (a-tud.)  A  study;  an  exercise.  An 
etude  usually  furnishes  technical  difl&culties  of 
60 


MUSIC   DICTIONARY 

some  description.  Etude  de  concert  is  a  very 
difficult  study  for  concert  performance.  Cho- 
pin's Etudes  are  among  the  most  famous.  « 

Et  vitam  (Lat.)  (et-yee-tam.)  A  part  of  the  Credo, 
in  the  Mass. 

Etwas  (Ger.)  (e^vas.)     Some;    somewhat;    a  little. 

Euphonium.     A   modern   Sax-horn;     see    Baritone. 

Euphony.  Agreeable  sound;  an  easy,  smooth 
enunciation  of  sounds. 

Exaltation  (Fr.)  (6x-al-ta-se-5nh.)  In  an  exalted, 
digninsd  manner. 

Exercise.  A  musical  composition  calculated  to 
improve  the  technique  of  the  performer.  Ex- 
ercises for  the  purpose  of  imparting  instruction 
in  musical  execution. 

Expression.  That  quality  in  a  composition  or 
performance  which  appeals  to  our  feelings,  taste 
or  judgment  displayed  in  rendering  a  composi- 
tion and  imparting  to  it  the  sentiment  of  the 
author.  Expression  marks  are  signs,  words  or 
phrases,  written  against  the  music  to  direct  the 
performer  in  giving  its  proper  expression. 


F 

F.  The  fourth  note  in  the  diatonic  scale  of  C. 
It  was  the  note  first  used  as  a  clef  sign  to  give 
definite  pitch  to  the  mediaeval  notation  (Neumes) 
because  "  small  f  "  was  a  good  medium  note  in 
the  baritone  voice  in  the  chants,  which  were 
therefore  almost  always  composed  around  this 
note,  f  is  also  the  abbreviation  of  Forte;  ff, 
fortissimo;    fTf,  fortississimo;    ffff  is  rarely  used. 

Fa.  The  name  applied  to  F  in  France  and  Italy; 
the  fourth  note  of  the  syllables  us  3d  in  solfeggio. 
In  the  "  fixed  do  "  system  it  is  always  F;  in 
the  "  movable  do"  it  is  the  fourth  note  of  any 
diatonic  scale.  In  "  Tonic  sol-fa  "  it  is  spelled 
"  Fah." 

Fabliau  (Fr.)  (fah-blee-oh.)     A  fable. 

Facile  (Fr.)  (fa-sel.)  I    j  •  ,  , 

Facile  (It.)  (/a-chee-lay.)     (    ^'S^*'  ^'^^' 

Facilita  (It.)  (fa-tshel-e-^a.)     Facility. 

Fackel-tanz  (Ger.)  (jd/j-' 1-tants.)  Dance  with 
torches. 

Fagott  (Ger.)  (isL-gott.)    A  bassoon. 
61 


MUSIC   DICTIONARY 

Fagotto  (It.)  (Vsi-g6t-td.)  A  bassoon;  also  an  organ- 
stop. 

Fagotto  contra  (It.)  {isL-got-to  kdn-trsi.)  The 
coutra-bassoon. 

Faiblement   (Fr.)    (fay-bl-manh.)     Feebly,  weakly. 

False  accent.  When  the  accent  is  removed  from 
the  first  beat  of  the  measure  to  the  second  or 
fourth,  it  is  called  false  accent. 

False  relation.  When  a  note  which  has  occurred 
in  one  chord  is  found  chromatically  altered  in 
the  followed  chord,  but  in  a  different  part. 

Falsetto.  The  male  head-voice  as  distinguished 
from  the  chest-voice.  A  false  or  artificial  voice; 
that  part  of  a  person's  voice  that  lies  above 
its  natural  compass. 

Fandingo  (Spa.)  {in,n-ddn-go.)  A  dance  much 
used  in  Spain,  in  |  or  |  time,  generally  accompa- 
nied with  castanets  and  having  a  strong  emphasis 
upon  the  second  beat  of  each  measure. 

Fanfare  (Fr.)  (fanh-far.)  A  short,  lively,  loud  and 
warlike  piece  of  music,  composed  for  trumpets 
and  kettledrums.  A  flourish  of  trumpets  or 
hunting-horns. 

Fantaisie  (Fr.)     (fan-ta-zee.)  1  Fanaj,   imagination, 

Fantasia  (It.)   (fan-ta-5;ee-a.)  [  caprice;      a    species 

Fantasia  (Ger.)  (fan-tiwee.)  J  of  music  in  which 
the  composer  yields  to  his  imagination  and 
gives  free  scope  to  his  ideas,  without  regard  to 
restrictions  in  form. 

Fantasiren  (Ger.)  (fan-ta-see-r'n.)  To  improvise; 
to  play  extemporaneously. 

Fantastico  (It.)  (fiin-Ms-te-ko.)  Fantastical;  whim- 
sical; capricious  in  relation  to  style,  modulation, 
etc. 

Farandole  (Fr.)  (fa-ranh-dol.)  A  lively  dance  in 
I  or  I  time,  peculiar  to  Provence. 

Farsa  (It.)  (fdr-sii.)     Farce. 

Fastosamente  (It.)  (fas-to-za-wcn-t6.)  Pomp- 
ously, proudly. 

Fastoso  (It.)  (fas-^o-zS.)  Proudly;  stately;  in  a 
lofty  and  pompous  style. 

F  clef.  The  bass  clef;  a  character  placed  on  the 
fourth  line  of  the  staff  so  that  the  two  dots  are  in 
the  third  and  fourth  spaces.     See  Chfs.    F^-— —-] 

F  dur  (Ger.)  (f  doer.)     The  key  of  F  major. 
Feier  (Ger.)  (/i-Sr.)     Festival,  celebration. 
62 


MUSIC   DICTIONAKY 

Feierlich    (Ger.)  (/I-6r-lIkh.)     Solemn,  festive. 

Fenna  (It.)  {far-ma,.)     Firm,  resolute,  steady. 

Fennamente  (It.)  (far-ma-77ien-t6.)  Firmly,  stead- 
ily- 

Fermata     (It.)     (iar-mu-ta,.)   I   A    pause    or    hold 

Fermate  (Ger.)  liax-?nd-te.)  )  marked  thus,  '^. 
Its  length  can  be  varied  by  the  words,  lunga 
(long),  piccola  (a  little),  G.  P.  (grosse  pause, 
great  pause),  and  other  signs.  Over  a  double 
bar  it  usually  signifies  the  end  of  the  composition. 

Fermato  (It.)  (far-77id-t5.)  Firmly,  steadily,  reso- 
lutely. 

Fenno'(It.)  (far-mo.)     Firm,  resolute. 

Feroce  (It.)  (fa-ro-tshS.)  Fierce;  with  an  ex- 
pression of  ferocity. 

Ferocita  (It.)  (fa-ro-tshe-/a.)  Fierceness,  rough- 
ness. 

Fertig  (Ger.)    (/er-tig.)     Quick,  nimble,  dexterous. 

Fervente  (It.)  (far-yen-te.)     Fervent,  ardent. 

Fervido  (It.)  (/ar-ve-do.)     Fervent,  vehement. 

Fes  (Ger.)  (les.)     The  note  F  flat. 

Fast    (Ger.)     A    festival;     firm;     steady.     Musi 
fest,  a  musical  festival. 

Festiglich  (Ger.)  (/es-tig-llkh.)     Firmly,  steadily. 

Festivamente  (It.)  (f6s-te-va-mcn-te.)     Gayly,  bri? 
liantly. 

Festivo  (It.)  (fes-^e-vo.)     Merry,  cheerful,  gay. 

Festlich  (Ger.)  (/esMikh.)     Festive,  solemn. 

Festoso  (It.)  (fes-io-zo.)     Meny,  cheerful,  gay, 

Feuer  (Ger.)  (foi-er.)     Fire,  ardor,  passion. 

Feurig  (Ger.)   (Joi-vlg.)     Fiery,  ardent,  passionate. 

F  holes.  The  sound  holes  on  a  violin  are  so  called 
because  of  their  resemblance  to  an  /. 

Fiacco  (It.)  (fe-a/j-ko.)     Feeble,  weak,  languishing. 

Fiato  (It.)  (fe-a-to.)     The  breath;   the  voice. 

Fiducia  (It.)  (fe-(ioo-tshe-a.)     Confidence. 

Field  music.  Music  for  military  instruments,  mar- 
tial music.     Fife  and  drum. 

Fieramente  (It.)  (fe-gr-a-me/i-te.)  Proudly,  vehe- 
mently, boldly. 

Fiero  (It.)  (fe-a-ro.)     Bold,  energetic,  proudly. 

Fife.  A  small,  shrill-toned  flute,  used  only  in 
martial     music,     together     with  sva 

drums.     It  has  six  holes  and  from  .-0.. 

one  to  six  keys  —  compass  about 
An  organ-stop  of  2-foot  pitch; 
a  piccolo-stop. 

63 


m 


MUSIC   DICTIONARY 

Fifteenth.  An  interval  measuring  fifteen  dia- 
tonic degrees.  Also  an  organ-stop  tuned  two 
octaves  above  the  diapasons,  and  of  2-foot  pitch. 

Fifth.  An  interval  measuring  five  diatonic  de- 
grees. 

Figuration.  An  ornamental  treatment  of  a  pas- 
sage;  a  mixture  of  concords  and  discords. 

Figurato  (It.)  (fe-goo-ra-to.)     Figm-ed,  florid. 

Figured.     A  free  and  florid  melody. 

Figured  bass.  A  bass  with  figures  placed  over  or 
under  the  notes  to  indicate  the  harmony.  See 
Thorough  bass. 

Filar  la  voce  (It.)  (ie-ldr  la  w-tshg.)  To  spin  out; 
to  prolong  the  tone;  gradually  augmenting  and 
diminishing  the  sound  of  the  voice. 

Fin  al  (It.)  (fe  nal.)     End  at;  play  as  far  as. 

Finale  (It.)  (fi-na-16.)  Final;  concluding;  the 
last  piece  of  any  act  of  an  opera  or  of  a  concert; 
or,  the  last  movement  of  a  sonata  or  symphony, 
etc. 

Fine    (It.)    (/ee-nay.)     The  end;    the  termination. 

Finement  (Fr.)  (feen-manh.)     Finelj-,  acutely. 

Fingering.  1.  The  method  of  applying  the  fingers 
to  the  keys,  strings,  or  holes,  of  different  in- 
struments. 2.  The  figures  which  are  written 
in  nausic  to  show  the  performer  which  finger  to 
use  in  sounding  a  note.  (See  English  fingering.) 
In  Germany,  as  early  as  the  time  of  Bach,  the 
figures  were  used  as  they  are  to-day  —  1,  2,  3,  4,  5. 

Fingering,  American.  The  use  of  the  sign  (x) 
to  indicate  the  thumb  in  pianoforte  playing,  in 
distinction  from  the  German  or  foreign  fingering, 
in  which  the  thumb  is  called  the  first  finger. 

Fingering,  foreign.        I     A    method    of    fingering 

Fingering-  German.  (  piano  music  which  desig- 
nates the  thumb  as  the  first  finger. 

Finger-satz  (Ger.)  (/in^-6r-satz.)     Fingering. 

Fino  al  (it.)  (/e-no  al.)     See  Fin  al. 

Fioriture  (It.)  (fe-o-re-^oo-rS.)  /  Literally,  little  flowers; 

Fiorituri  (It.)  (fe-o-re-ioo-re.)  j  graces  and  embelhsh- 
ments  in  singing. 

Fis  (Ger.)  Cfis.)  The  note  F  sharp  Fis-is,  F  double 
sharp. 

Fis  dur  (Ger.)  (fIs  doer.)     The  key  of  F  sharp  major. 

Fis  moll  (Ger.)  (/is-moll.)  The  key  of  F  sharp 
minor. 

Fixed  syllables.  Vocal  syllables  which  do  not 
64 


MUSIC   DICTIONARY 

change  with  the  change  of  key.  The  ItaHans 
and  French  use  fixed  syllables.  The  fixed-Do 
system  is  that  in  which  the  tone  C  and  all  its 
chromatic  derivatives  (C^t,  Cx,  and  ,  Cb» 
are  called  Do,  D  and  its  derivatives  Re,  etc., 
in  whatever  key  or  harmony  they  may  appe^' 

Fixed-tone  instruments.  The  piano,  organ  and 
harp  have  a  fixed  scale  of  steps  and  half-steps 
where  no  difference  can  be  made  in  pitch  be- 
tween sharp  and  flat  notes,  for  instance  C^  and 
Db,  which  is  possible  and  sometimes  indulged  in 
on  the  viohn  and  other  fingered  string  instruments. 
See  Temperamsnt. 

Flageolet     (Fr.)     (fla-zhe-o-la.)    I    1.  An  instrument 

Flageolet  (Ger.)  (fla-ghe-5-^5/.)  )  similar  to  the 
flute  in  construction,  but  played  through  a 
small  bone  or  ivory  mouth-piece  (artificial  em- 
bouchure) which  renders  the  tone  slirill  and  un- 
suited  for  combination  with  other  instruments. 
It  is  comparatively  easy  to  play.  The  compass 
is  slightly  over  two  octaves  extending  from  about 
"  g  "  on  treble  staff  upwards.  The  flageolet  is 
analogous  to  the  flute  d  bee.  2.  An  organ  stop  of 
2-foofc  tone  and  wooden  pipes. 

Flageolet  tones.     See  Harmonics. 

Flat  (Ger.,  Be;  Fr.,  Bemol;  It.,  Bemolle.)  The 
sign  b,  which  lowers  the  pitch  of  the  note  fol- 
lowing it  by  a  semi-tone.  It  came  originally 
from  the  letter  6,  as  its  shape  and  its  foreign 
names  indicate.     See  Chromatic  signs. 

Flat,  double.  A  character  composed  of  two  flats 
which  lowers  a  note  two  semi-tones,  (bb). 

Flauto  (It.)  (fla-oo-to.)  A  flute.  Flauto  coupled 
with  am/ihile,  amoroso,  di  Pan^  dolce,  grave, 
traverso,  etc.,  constitutes  names  of  various  organ 
stops  of  generally  soft  and  agreeable  tone. 

Flautone  (It.)  (fla-oo-fo-ne.)  A  16-foot  pedal-stop 
in  an  organ,  of  soft  tone. 

Flauto  piccolo  (It.)  (fla-oo-to  pik-kd-\6.)  An  oc- 
tave flute,  a  small  flute  of  very  shrill  tone.  See 
Piccolo. 

Flauto   trans  verso   (It.)    (fla-oo-to  trans-m?r-so.)  ) 

Flauto  traverso  (It.)  (fla-oo-to  tra-ya?>-so.)  ^  ) 
The  old  designation  of  the  flute  now  in  use 
(blown  at  the  side)  in  contradistinction  to  the 
hiUe  a  bee,  flageolet,  recorder,  etc.,  blown  through 
a  mouth-niece  affixed  to  the  end.  The  so-called 
65 


MUSIC   DICTIONARY 

Grerman  flute.     The  name  is  also  applied  to  an 
organ-stop. 

FlebUe  (It.)  C/Za-be-16.)     Mournful,  sad,  doleful. 

Flessibile  (It.)  (fi6s-see-be-le.)     Flexible;  pliant. 

Florid.     Ornamental,  figured,  embellished. 

Florid  counterpoint.     Free  counterpoint. 

Flourish.  A  fanfare  of  trumpets  or  brass  instru- 
ments. 

Fliichtig  (Ger.)  (flukh-tlg.)     Lightly,  nimbly. 

Fliigel  (Ger.)  (flu-g'L)  A  grand  piano,  so  called 
because  it  is  shaped  like  a  "  wing,"  or  "  fliigel." 

Fliigelhom.  Similar  to  the  cornet,  but  of  larger 
caliber  and  bell.  The  tone  is  soft  and  velvety 
and  best  adapted  to  sustained,  expressive  melo- 
dies. 

Fluit.     (Dut.)     (floit.)  I       ,  .   . 

Fluta  (Lat.)   (fioo-tk.)  \      ^^ute. 

Flute.  A  well-known  wind-instrument,  gener- 
ally made  of  wood,  but  sometimes  of  metal, 
consisting  of  a  tube  closed  at  one  end  and 
being  furnished  with  holes  and  keys.  It  is  also 
called  Traverse  flute,  German  flute,  and  D 
flute.  It  was  greatly  improved  by  Theobald 
Boehm  about  1334,  and  flutes  with  his  system 
of  keys  attached  are  also  called  Boehm  flutes  or 
concert  flutes.  The  usual  compass  of  the  flute  is: 
Sva  although  the  instrument  may, 
exceptionally,  have  an  added 
semi-tone  above  and  below.  It 
is  generally  a  non-transposing  in- 
strument, although  transposing 
flutes  are  sometimes  used  in  military  bands. 
The  piccolo  or  octave  flute  sounds  an  octave 
higher  than  the  ordinary  flute.  Consult  Prout's 
"  Orchestra "  and  A.  Elson's  "  Orchestral  In- 
struments and  their  Use." 

Flute.  An  organ-stop  of  the  diapason  species,  the 
tone  of  which  resembles  that  of  the  flute. 

Flute  a  bee  (Fr.)  (fliit  a  bek.)  Flute  with  a  beak; 
the  old  English  flute,  with  a  lip  or  beak;  it  was 
blown  at  the  end.  The  Recorders  used  in  Eng- 
land in  the  Elizabethan  era. 

Flute,  Boehm  (bom.)     See  Boehm  Flute. 

Flute-work.     In  the  organ,  the  flute-work  includes 
all    flue-stops    not    belonging    to    the    principal- 
work  and  gedackt-work,  as  well  as  various  modi- 
fications of  these  two  groups. 
66 


MUSIC   DICTIONARY 

F  moU  (Ger.)  (M  moll.)     The  key  of  F  minor. 

Fois  (Fr.)  (fwii.)     Time. 

Foot.  1.  A  certain  number  of  syllables  constitut- 
ing a  distinct  metrical  element  in  a  verse.  In 
very  old  English  music  it  was  a  kind  of  drone 
accompaniment  to  a  song  which  was  sustained 
by  another  singer.  2.  That  part  of  an  organ-pipe 
below  the  mouth.  3.  The  unit  of  measure  in 
organ-pipes.  An  open  pipe  8-foot  long  sounds, 
:m|  3  and  if  a  series  oi  organ-pipes  begin 
-^  A  with  this  tone  given  by  such  a  pipe, 
-"^  we  call  the  series  "'  8-foot  tone." 
Any  stop  sounding  its  actual  pitch  (as  a  piano- 
key  would  do)  is  called  "S-foot."  If  sound- 
ing an  octave  higher,  "  4-foot,"  two  octaves 
higher,  "  2-foot,"  an  octave  lower  c^ 
"  16-foot,"  etc.  The  sound-waves  of  k^  - 
being  eight   feet   long,  of  the  octave  -"^- 

lower  sixteen  feet,  the  octave  higher  four  feet, 
etc. 

Forlana    (It.)     (for-^-nii.)    |    A     lively    Venetian 

Forlane  (Fr.)  (f6r-lan.)  (  dance  in  f  time,  used 
by  the  gondoliers.  It  is  introduced  in  Pon- 
chielli's  "  La  Gioconda." 

Form.  Although  modern  music  has  become  very 
vague  in  its  shapes  and  frequently  eludes  an- 
alysis, yet  there  is  in  most  music  a  definite  ar- 
chitecture that  can  be  studied  as  readily  as  the 
shape  of  a  building. 

Forte  (It.)  Cfor-tS.)     Loud,  strong. 

Fortement  (Fr.)  (fort-manh.)        (  Loudly,     power- 

Fortemente  (It.)  (for-tS-me/i-te.)  S  fully,  vigorously. 

Fortezza  (It.)  (for-tei-za.)  Force,  power, 
strength. 

Forte-piano  (It.)  (/or-te-pe-a-no.)  Attack  the  note 
strongly,  but  diminish  instantly. 

Forte  possibile  (It.)  (/or-te-pos-se-be-le.)  As  loud 
as  possible. 

Fortissimo  (It.)  (for-fes-se-mo.)     Very  loud. 

Fortsetzung  (Ger.)  (/ori-set-soong.)  A  continua- 
tion. 

Forza  (It.)  (fort-sa..)     Force,  strength,  power. 

Forzando  (It.)  (for-tsdn-dd.)    )    Forced;     laying    a 

Forzato  (It.)  (for-^^a-to.)  )    stress  upon  one  note 

or  chord;  sometimes  marked  a  or  >. 

Fourth.     All  interval  measuring  foiu"  diatonic  de- 


67 


MUSIC  DICTIONARY 

Francaise  (Fr.)  (franh-sayz.)  1,  A  graceful  dance 
in  I  time.     2.     In  the  French  style. 

Franchezza  (It.)  (fran-A;e/-za.)  Freedom,  con- 
fidence, boldness. 

Freddamente  (It.)  (fred-da-me^i-tS.)  Coldly;  with- 
out animation. 

Freddezza   (It.)    (fred-dc-tsa.)     Coldness,  frigidity. 

Free  composition.  In  a  free  style;  a  composition 
not  in  strict  accordance  with  the  rules  of  musical 
form. 

Free  reed.  A  reed-stop  in  an  organ,  in  which  the 
tongue  by  a  rapid  vibratory  motion  to  and  fro 
produces  the  sound.  The  tone  of  a  free  reed  is 
smooth  and  free  from  rattling,  but  not  usually  so 
strong  as  that  of  the  heating  reed. 

Frei  (Ger.)  (fri.)     Free;   unrestrained  as  to  style. 

French  horn.     See  Horn. 

French  Sixth.     One  form  of  an  augmented  sixth; 
a  chord  composed  of  a  major  third, 
augmented  fourth,  and  augmented    E^3L 
sixth.  *J 

Frescamente  (It.)  (fres-ka-men-te.)  ]  Freshly,      vig- 

Fresco  (It.)  (/res-ko.)  )  orously,  lively. 

Fretta  (It.)  (/ret-tii.)  Increasing  the  time;  ac- 
celerating the  movement. 

Frets.  Narrow  strips  of  wood,  ivory,  or  metal,  set 
across  the  fingerboard  of  mandolin,  banjo,  guitar, 
etc.,  to  mark  the  exact  points  for  **  stopping  " 
the  strings  and  serving  as  temporary  bridges  to 
render  the  tone  of  "  plucked  "  strings  more  bril- 
liant. 

Freudig  (Ger.)  (froy-dig.)     Joyfully. 

Frisch  ((jer.)  (frish.)     Freshly,  briskly,  lively. 

Frohlich  (Ger.)  (fro-llkh.)     Joyous,  gay. 

Frosch  (Ger.)  (frosh.)  Literally  Frog.  The  lower 
part  or  nut  of  a  violin  bow. 

Friihlingslied    (Ger.)    (/rw-lings-led.)     Spring  song. 

F-schliissel  (Ger.)  (6f-sAZws-s'l.)  The  F  or  bass 
clef. 

Fuga  (It.)  f/oo-ga.)     A  flight;  a  chase.     See  Fugue. 

Fugara  (Lat.)  (foo-gra-ra.)  An  organ-stop  of  the 
gamba  species. 

Fugato  (It.)  (foo-gra-to.)     In  the  style  of  a  fugue. 

Fuge  (Ger.)  (/oo-gh6.)     )     .  ^ 

Fugha  (It.)  (/oo-ga.)       f    ^  ^^^ue. 

Fughetta  (It.)  (ioo-get-tH.)     A  short  fugue. 

Fugitive  pieces.     Ephemeral  compositions. 
68 


MUSTC   DICTIONARY 

Fugue  (fug.)  A  term  derived  from  the  Latin  word 
Juga,  a  flight.  It  is  a  composition  m  the  strict 
style,  in  which  a  subject  is  proposed  by  one  part 
and  answered  by  other  parts,  according  to  cer- 
tain rules.  A  fugue  may  be  strict  or  free,  ac- 
cording to  the  style  of  its  treatment.  Fugues 
differ  greatly  in  their  construction,  but  in  one 
point  they  are  all  alike;  every  fugue  is  a  contra- 
puntal development  of  the  subject  which  is 
announced  quite  alone  at  the  beginning.  Most 
fugues  use  more  than  this  material;  they  de- 
velop the  entire  exposition.  This  exposition  is 
made  up  of:  1st.  The  subject,  which  is  a  figure 
or  phrase,  nol  a  complete  melody.  2d.  The 
answer,  which  is  the  subject  reproduced  on  the 
degree  of  the  dominant,  either  above  or  below. 
3d.  The  counter-subject,  which  is  a  contrasted 
phrase,  accompanying  the  subject  or  the  answer, 
from  the  entrance  of  the  second  voice.  See 
Front's  "  Fugue  "  and  ''  Fugal  Analysis.'* 

Fugue,  double.     A  fugue  on  two  subjects. 

FuU.     For  all  the  voices  of  instruments. 

Full  anthem.  An  anthem  in  four  or  more  parts, 
without  verses  or  solo  passages:  to  be  sung  by 
the  whole  choir  in  chorus. 

Full  orchestra.  An  orchestra  in  which  all  the  or- 
chestra stringed  and  wind  instruments  are  era- 
ployed. 

Full  organ.  An  organ  with  all  its  registers  or  stops 
in  use. 

Full  score.  A  complete  score  of  all  the  parts  of 
a  composition,  vocal  or  instrumental,  or  both 
combined,  wTilten  on  separate  staves  placed  under 
each  other. 

FundamcntaL  1.  A  tone  producing  a  series  of 
harmonics.  2.  The  root  on  which  any  chord  \s 
built. 

Fundamental  Chord.  1.  The  chord  founded  on  the 
key-note.  2.  A  chord  founded  on  one  of  the 
Fundamental   tones.     See   Fundamental    Position. 

Fundamental  Key.     Original  Key. 

Fundamental  Note.     The  root  of  any  chord. 

Fundamental  Position.  Applied  to  any  chord  when 
the  root  is  the  lowest  note  sounded.  See  In- 
versions. 

Fundamental    Tones.     The    tonic^    dominant,    and 
sub-dominant  of  any  scale  or  key, 
69 


MUSIC   DICTIONARY 

Funebre  (Fr.)  (fu-nabr.)        1 

Funerale  (It.)  (foo-n&-rd-l?.)  [    Funereal,  mournful. 

Funereo  (It.)  (l"oo-na-re-o.)    J 

Fiinf  (Ger.)  (funf.)     Five. 

Fiinf-fach  (Ger.j  (Jiinf  lakh.)  Fivefold;  five  ranks; 
speakmg  of  organ-pipes. 

Fuoco  (>t.)  (foo-o-ko.)     Fii-e,  energy,  passion. 

Fuocosr^  (It.)  (foo-6-A;o-20.)  Fiery,  ardent,  im- 
petuous. 

Fiir  (G«r.)  (fiir.)     For. 

Furia  <lt.)  (Joo-re-a.)     Fury,  passion,  rage. 

Furio'iamente  (It.)  (foo-re-6-za-m(^n-t6.)  Furiously, 
madly . 

Furi'ijso  (It.)  (foo-re-o-z6.)  Furious,  vehement, 
mad. 

Fuiaiture  stop.  An  organ-stop  consisting  of  several 
ranks  of  pipes,,  of  very  acute  pitch.  A  mixture- 
f*top. 

Furore  (It.)  (foo-ro-r6.)     Fury,  rage,  excitement. 


G.  The  fifth  note  of  the  normal  scale  of  C,  called 
Sol.  The  lowest  or  fourth  string  of  a  viohn, 
the  third  of  the  viola  and  violoncello.  The  key- 
note of  the  major  scale,  having  one  sharp  in  the 
signature.     Ihe  letter-name  of  the  treble  clef. 

G.  (Fr  )  {abb.  for  gauche.)  Left;  as,  m.  g.,  with 
the  left  hand. 

Gagliardamente  (It.)(gal-ye-ar-da-men-tg.)  Briskly, 
Rayly. 

Gai  (Fr.)  (ga.)     Gay.  merry. 

Gaiement  (Fr.)  (ga-manh)    I    ^^^^-^^^  ij^giy  gailv 

Gaiment  (Fr.)  (ga-manh.)      (  ^vierruy,  iiveiy,  gaiiy. 

Gaio  (It.)  {gd-e-6.)     With  gayety  and  cheerfulness. 

Galante  (It.)  (ga-^??-te.)  )    Gallantly, 

Galantemente  (It.)  (ga-lan-t&-me??.-te.)  )    boldly. 

Galliard.  A  lively  old  dance  in  triple  time,  for- 
merly very  popular. 

Galop  (Fr.)  (gSl-o.)  A  quick  dance,  generally  in 
i  time. 

Gamba,  Viola  da  (It.)  (vee-o-la  da  gam-ba.)  A 
knee  or  leg  (gamba)  viol,  a  predecessor  of  violon- 
cello. 

Gamba-bass.     A  16-foot  organ-stop,  on  the  pedals. 

Gamme  (Fr.)  (gam.)     The  gamut  or  scale. 
70 


MUSIC  DICTIONARY 

Gang  (Ger.^  (gang.)  Pace;  rate  of  movement  or 
motion. 

Ganz  (Ger.)  (gants.)  Whole,  entire;  also,  all 
very. 

Garbatamente  (It.)  (gar-ba-ta-w^n-tg.)  Grace- 
fully. 

Garbato  (It.)  (gar-6a-to.)     Graceful. 

Garbo  (It.)   {gdr-ho.}     Simplicity,  grace,  elegance. 

Gauche  (Fr.)  (gosh.)     Left. 

Gaudioso  (It.)  (ga-oo-de-o-zo.)     Merry,  joyful. 


Gavot  (Eng.)  {gk-v5t.) 
Gavotta  (It.)  (ga-yo^ta.) 
Gavotte    (Fr.)    (ga-yd/..) 


A  dance  of  even  rhythm, 
generally   quadruple,   or 


m 


duple  (alia  breve).  The  character  of  this  dance 
should  be  graceful  and  elegant,  though  ani- 
mated. 

G  clef.  The  treble  clef;  a  character  representing 
the  letter  G  which  invariably  turns  on  the 
second  line  of  the  staff.  It  deter- 
mines the  position  of  one-lined  G  (gO 
upon  the  staff.     See  Clef. 

G  dur  (Ger.)  (ga  doer.)     The  key  of  G  major. 

Gebrochen  (Ger.)  (ghe-6ro-kh'n.)     Broken. 

Gebunden    (Ger.)    (gh^-boon-d'n.)     Connected,    in 
regard  to  the  style  of  playing  or  writmg. 

Gedackt   (Ger.)    (ghe-ddkht.)     Stopped;  in  opposi- 
tion to  the  open  pipes  in  an  organ. 

Gedehnt  ((jer.)  (ghsnidnt.)     Lengthened. 

Gefallig    (Ger.)     (ghe-/eZ-lIg.)       Pleasingly,    agree- 
ably. 

GefiibJ    (Ger.)    (ghS-/w/i/.)     Sentiment,    expression. 

Gehalten  (Ger.)  (gh5-^a/-ten.)     Sustained. 

Gehaucht  (Ger.)   {gh^howcht.)     Whispered,  sighed 
out. 

Gehend  (Ger.)  (.ga-end.)     The  same  as  andante. 

Geige  (Ger.)  (ghl-ghe.)     The  violin. 

Geistlich   (Ger.)    {ghist-llkh.)     Ecclesiastical,    cleri- 
cal, spiritual. 

Geistvoll    (Ger.)    (ghist-iol.)     Full   of  soul   and   of 
sentiment. 

Gelassen  (Ger.)  (gh6-Zas-s'n.)     Calmly,  quietly. 

Gelauiig  (Ger.)   (gh^-loy-Hg.)     Easy,  fluent,  rapid. 

Gelinde  (Ger.)  (ghe-Zm-d§.)     Softly,  gently. 

Gemachlich    (Ger.)    (ghe-maM-likh.)     Quietly;    in 
a  calm,  slow  manner. 

Gemahlig  (Ger.)   {ghe-md-llg.)     Gradually;  by  de- 
grees. 

71 


-    MUSIC   DICTION^ARY 

Gemisch  (Ger.)  (ghe-mish.)  Mixed;  mixture,  or 
compound  stops  in  an  organ. 

Gems-horn  (Ger.)  (ghems  horn.)  In  the  organ,  a 
metal  flue-stop  having  tapei*ing  pipes  of  8,  4,  or 
2-foot  pitch  on  the  manuals  and  of  16-foot- 
pitch  on  the  pedal,  with  mellow  horn-like  timbre. 
The  tone  is  light,  but  very  clear. 

Gemiith  (Ger.)  (gh6-//?tiY-.)     Mmd,  soul. 

Gemut(h)lich  (Ger.)  (ghe-?wwY-likh.)  Agreeable,  ex- 
pressive, genial. 

General  bass  (Ger.)  (gha-ner-cAZ  bass.)  Thorough 
bass;    figured  bass. 

General-pause  (Ger.)  (gha-ner-a/iif  pow-seh.)  A 
general  cessation  or  silence  of  all  the  parts. 

Generoso  (It.)  (je-ne-ro-z6.)  Noble;  in  a  digni- 
fied manner. 

Genre  (Fr.)  (zhanhr.)     Stylo,  manner. 

Gentile  (It.)  (jen-Ze-le.)     Pleasing,  graceful,  elegant. 

Gentilezza  (It.)  (jen-tee-/e7-za.)  Grace;  elegance; 
refinement  of  style. 

Gentilmente  (It.)  (jen-tel-wen-te.)  Gracefully,  ele- 
gantly. 

German  fingering.     See  Fingering. 

German  flute.     See  Fluie. 

German  scale.  A  scale  of  the  natural  notes,  con- 
sisting of  A,  H,  C,  D,  E,  F,  G,  instead  of  A,  B,  C. 
etc.,  the  B  being  always  reserved  to  express  B 
flat. 

German  sixth.     A  name  given  to  a  chord  com- 
posed   of    a    major    third,    perfect 
fifth,    and  augmented  sixth,    as  — 

Ges  (Ger.)  (ghes.)     The  note  G  flat. 

Gesang    (Ger.)    (ghg-sang.)     Singing; 
singing;   a  song;   melody;   air. 

Geschick  (Ger.)  (gh^shik.)     Skill,  dexterity. 

Geschleift  (Ger.)  (ghe-shllft .)     Slurred,  legato. 

Geschwind  (Ger.)  (ghe-shvind.)     Quick,  rapid. 

Ges  dur  (Ger.)  (ghes  doer.)  The  key  of  G  flat 
major. 

Gestossen  (Ger.)  (gh^sios-s'n.)  Separated,  de- 
tached. 

Getheilt  (Ger.)  (g6-.'T//.)  Divided,  separated;  Ge- 
iheilte  Violinen.  violini  divisi;  Getheilte  Stimmen, 
partial  stops  (organ). 

Getragen  (Ger.)  (gh6-/m-g'n.)  Well-sustained; 
carried. 

Gewiss  (Ger.)  (gh6-y?ss.)     Firm,  resolute. 
72 


MUSIC   DICTIONARY 

Giga  (It )  Uf -ga.)        I  A  jig.  or  lively  species  of 

Gigue  (Fr.)  (zheg.)        r  j  rr.,      -^     ^   . 

Gige  (Ger.)  (ghe-geh.)  J  ^ance.  The  name  is  sup- 
posed to  be  derived  from  the  German  word  geig, 
or  geige,  meaning  a  fiddle,  as  the  music  is  partic- 
ularly adapted  to  instruments  of  that  class.  It 
is  in  I,  f ,  V5  and  sometimes  even  |  rhythm. 

Giochevole    (It.)    (je-o-A-e-vo-le.)     Merry,   sportive. 

Giocondo  (It.)  {]e-6-kon-d6.)     Cheerful,  merry. 

Giocosamente  (It.)   (je-o-ko-zsL-men-te.)  j    tt„^^_ 

Giocoso  (It.)  (3e-o-A;o-so.)  (    humor- 

ously, sportively. 

Gioja^flt.)  (je-o-ya.)     Joy,  gladness. 

Giojoso  (It.)  (ie-o-yo-zo.)     Bhthe,  joyful,  gay. 

Giojosamente  (It.)  (je-o-yo-za-me?i-te.)  Joyfully, 
merrily. 

Gioviale  (It.)  (je-o-ve-a-le.)     Jovial. 

Giovialita  (It.)  (je-o-ve-a-le-/a.)     Joviahty,  gayety. 

Gis  (Ger.)  (ghis.)     The  note  G  sharp. 

Gis  moll  (Ger.)  (gh!s  moll.)  The  key  of  Gi? 
minor. 

Gitana  (It.)  (]e-tu-na,.)     A  Spanish  dance. 

Giubiloso    (It.)    (joo-be-Zo-zo.)     Jubilant,    exulting. 

Giubilazione   (It.)   (joo-be-lat-se-o-n6.)  ]    T„u;i„H-nr. 

Giubilio  (It.)   (joo-&e-le-o.)  Sdnr" 

Giubilo  (It.)  (joo-be-lo.)  J   i^ejoicmg. 

Giustamente  (It.)  (joos-ta-men-tS.)  Justly;  with 
precision. 

Giusto  (It.)  (joos-to.)  A  term  signifying  that  the 
movement  indicated  is  to  be  performed  in  an 
equal,  steady,  and  exact  time.  Giuslo  is  some- 
times used  to  indicate  moderation,  as  Allegro 
giusto,  a  moderate  allegro. 

Giustezza  (It.)  Qoos-tet-zH.)     Precision. 

Glee.  A  vocal  composition  in  three  or  four  parts, 
generally  consisting  of  more  than  one  movement, 
the  subject  of  which  may  be  grave,  tender,  or  gay, 
and  bacchanalian.  The  glee  was  less  intricate 
than  the  madrigal,  and  was  frequently  accom- 
panied, while  the  madrigal  was  sung  a  cappella. 
It  is  a  composition  peculiar  to  England. 

Gleich  (Ger.)  (ghkh.)     Equal,  alike,  consonant. 

Gleiten  (Ger.)  (gll-Vn.)  To  slide  the  fingers. 
Glissando. 

Gli  (It.  pi.)  ('1  yee.)  The  (masculine  plural),  aa 
gli  strumenti,  the  instruments. 

GUde.     Portamento, 

73 


luOSIC  DICTIONARY 

Gliding.  In  flute  playing,  a  sliding  movement  of 
the  fingers  for  the  purpose  of  blending  the  tones. 

Glissando  (It.)  (gles-san-d5.)  Slurred;  smooth; 
in  a  gliding  manner.     Sliding  the  finger. 

Glocke  (Ger.)  igl6k-&.)     A  bell. 

Glockenspiel  (Ger.)  {gl6k-en-spe\.)  A  stop  in  imi- 
tation of  bells,  in  German  organs.  A  set  of 
small  bars  of  polished  steel,  used  in  the  orchestra, 
which,  on  being  struck  v/ith  a  mallet,  give  forth 
tinkling  tones  of  definite  pitch. 

Gloria  (Lat.)  (gld-n-a,.)  A  movement  in  a  Mass, 
following  the  Kyrie. 

Glottis  (Gr.)  (glot-tis.)  The  narrow  opening  in  the 
laiynx,  forming  the  mouth  of  the  windpipe,  which 
by  its  dilation  and  contraction  contributes  to  the 
modulation  of  the  voice. 

G  moll  (Ger.)  (ga  mol.)     The  key  of  G  minor. 

Gondellied  (Ger.)   {gon-d'\-\ed.) "  A  gondolier  song. 

Gong.  A  Chinese  instrument  consisting  of  a  large, 
circular  plate  of  metal,  which,  when  struck, 
produces  an  exceedingly  loud  noise,  not  of  defi- 
nite pitch.     Also  called  Tam-iam. 

Grace.  )   Ornamental    notes    and    embellish- 

Grace-note.  J  ments,  either  written  by  the  com- 
poser, or  introduced  by  the  performer.  See  Dann- 
reuther's  "Musical  Ornamentation"  (2  vols.). 
Many  of  the  signs  are  becoming  obsolete,  and  it 
has  become  the  custom  to  WTite  the  notation  in 
full,  in  modern  editions,  avoiding  the  signs  al- 
together. The  chief  embellishments  used  at 
present  are  the  Trill,  Turn,  Mordent,  Appoggia- 
tura  and  Acciaccatura,  which  will  be  found  de- 
fined under  their  respective  names. 

Gradevole  (It.)  (gra-da-vo-l6.)  I   Grace- 

Gradevolmente  (It.)  (gra-da-vol-w€n-te.)  ( 
fully,  pleasingly. 

Grado  (It.)  (grd-do.)  A  degree,  or  single  step  on 
the  staff. 

Gradual.  1.  That  part  of  the  Roman  Catholic 
service  that  is  sung  between  the  Epistle  and  the 
Gospel.  The  name  comes  from  Gradus,  a  step. 
2.  A  cantatorium  (book  of  chants)  containing  the 
graduals,  introits,  and  other  antiphons  of  the 
Catholic  Mass. 

Gradualmente  (It.)  (gi-a-doo-al-7nen-t6.)  Gradu- 
ally;  by  degrees  or  steps. 

Gran  (It.)  (gran.)     Great,  grand. 
74 


MUSIC  DICTIONARY 

Grand-barre  (Fr.)  (granh  bar-ra.)  In  guitar-play- 
ing this  means  laying  the  first  finger  of  the  left 
hand  upon  all  the  six  strings  of  the  guitar  at 
once. 

Grand  bourdon.  Great  or  double  bourdon;  an 
organ-stop  of  32-foot  tone  in  the  pedal. 

Grand  choir.  In  organ-playing,  the  union  of  all 
the  stops  of  the  choir-organ. 

Grandezza  (It.)  (gran-det-s-A,.)  Grandeur,  dig- 
nity. 

Grandiose  (It.)  (gran-de-o-zo.)     Grand,  noble. 

Grand  opera.     See  Opera. 

Grand  orgue  (Fr.)  (granh  dorg.)     Great  organ. 

Graphophone.     See  Phonograph. 

Gratias  agimus  (Lat.)  ((/ra-shi-as  a-jee-mus.)  Part 
of  the  Gloria  in  a  Mass. 

Grave  (It.)  (gra-ve.)  A  slow  and  solemn  move- 
ment; also  a  deep  low  pitch  in  the  scale  of  sounds. 
The  slowest  tempo  in  music. 

Gravita  (It.)  (gra-ve-/a.)     Gravity,  majesty. 

Grazia  (It.)  (grd-tse-n,.)     Grace,  elegance. 

Graziosamente  (It.)  (gra-tse-o-za-T/ien-te.)  Grace- 
fully, smoothly. 

Grazioso  (It.)   (gra-tse-o-zo.)     In  a  graceful  style. 

Great  octave.     See  Tahlature. 

Great  organ.  In  an  organ  with  three  rows  of 
keys,  usually  the  middle  row,  so-called  because 
containing  the  most  important  stops  and  having 
its  pipes  voiced  louder  than  those  in  the  swell 
or  choir  organ. 

Gregorian  chant.  A  style  of  choral  music,  accord- 
ing to  the  eight  celebrated  church  modes  intro- 
duced by  Pope  Gregory  in  the  sixth  century. 

Gregorian  modes.  I  Those     chants     or     melodies 

Gregorian    tones.     (  used   for   the    psalms   in   the 
Roman  Catholic  service,  and  also  in  many  Eng- 
lish churches.     They  are  taken  from  tlie  ancient 
Greek  modes,  and  the  sounds  are  supposed  to 
have  been  somewhat  similar  to  those  in  the  mod- 
•5m  or  natural  scale  of  0;   but  with  different  or- 
ders of  progression.     See  the  "Oxford  History 
of  Music,"  Vol.  I. 
Grob-gedackt  (Ger.)    {grbh  ghe-ddkkt.)     An  organ- 
stop.     Large  stopped  diapason  of  full  tone. 
Grossartig  (Ger.)  (^ros-ar-tig.)     Grand. 
Gross-gedackt    (Ger.)     {gros    gh&~Mkht.)     Double 
stopped  diapason  of  16-foot  tone  in  an  organ. 
75 


MUSIC   DICTIONARY 

Grosso  (It.)  (gros-so.)     Fail,  great,  grand. 

Grottesco  (It.)  (gro-^es-k5.)     Grotesque. 

Group.     Several  short  notes  tied  together. 

Gruppetto  (It.)  (groo-pd-to.)  A  turn.  Also,  a  col- 
lective term  applied  loosely  to  various  "  groups," 
or  grace-notes,  such  as: 


w^^^^^ 


etc. 


G-schliissel  (Ger.)  (ga-shliis-o'l.)  The  G,  or  treble 
clef. 

Guaracha  (Spa.)  (gwar-aA:-a.)     A  Spanish  dance. 

Guamerius  (gwar-na-ri-us.)  A  'make  of  violin 
highly  prized,  so-called  from  the  name  of  the 
manufacturer. 

Guerriero  (It.)  (gwSr-re-a-ro.)     Martial,  warlike. 

Guida  (It.)  (gwe-dix.)^  Guide;  also,  the  mark  called 
a  direct.     The  subject  of  a  fugue. 

Guidonian  syllables.     See  Solfaing. 

Guitar  (ghit-ar.)  A  "  plucked "  string  instru- 
ment of  great  resonance;  body  and  neck  similar 
to  the  violin  though  considerably  larger,  the 
top  and  back  however  being  flat.  The  six 
strings  of  gut,  silk  or  wire  vibrating  over  a  cir- 
cular sound-hole.  While  of  Spanish  invention 
and  most  popular  in  that  country,  modified  tj'-pes 
have  long  existed  in  Germany  and  Italy  and 
the  instrument  may  be  said  to  be  universally 
known  and  popular.  Originally  intended  foi* 
accompaniment  only,  it  has  become  an  accept- 
able solo  instrument  in  the  hands  of  a  capable 
performer. 

1 1  is  generally  tuned  as  below,  the  intervals  being 
for  the  most  part  fourths. 


f 


3=* 

While  played  from  the  Treble  staff  the  actual 
sounds  are  an  octave  lower;   the  written  compass 
being  from  E  below  the  staff  to  the  second  A 
above  the  staff. 
Giisto  (It.)  igoos-to.)     Taste,  expression. 
76 


MUSIC   DICTIONART 


H.  This  letter  is  used  by  the  Germans  for  B 
natural.     Also  stands  for  heel  in  organ  music. 

Habanera  (Spa.)  (ha-ban-z/e-ra.)  A  slow  Spanish 
dance  in  |  or  f  time. 

Halb  (Ger.)  (halb.)     Half. 

Half-cadence.  An  imperfect  cadence;  a  close  on 
the  dominant. 

Half-note.     A  minim,  J. 

Half-rest.  A  pause  equal  in  duration  to  a  balf-= 
note,  -■-. 

Half-step.  The  smallest  interval  used  in  our  musi- 
cal system.  For  other  applications  of  hoJJ  in 
music  see  second  word. 

Hallelujah  (Heb.)  (hal-le-Zoo-yah.)  Praise  ye  the 
Lord;   a  song  of  thanksgiving. 

Hardiment    (Fr.)    (ar-dee-manh.)     Boldly,    firralv. 

Harfe  (Ger.)  {har-[Q.)     A  harp. 

Harmonica.  A  musical  instrument  invented  by 
Benjamin  Franklin,  consisting  of  glasses,  some- 
times globular  and  sometimes  fiat.  The  tone  is 
produced  by  rubbing  the  edge  of  the  globular 
glasses  with  a  moistened  finger,  or  striking  the 
flat  ones  with  small  hammers.  The  name  is  also 
applied  to  an  organ-stop  of  delicate  tone.  See 
Mouth-harmonica. 

Harmonic  figuration.     Broken  chords. 

Harmonic  flute.  An  open  metal  organ-stop,  of 
8  or  4-foot  pitch;  the  pipes  are  of  double  length, 
that  is,  16  or  8  feet,  and  the  bodies  have  a  hole 
bored  in  them,  midway  between  the  foot  and  the 
top;  the  tone  is  exceedingly  full,  fluty,  and  power- 
ful. 

Harmonic  mark.  A  sign  used  in  violin,  harp  music, 
etc.,  to  indicate  that  certain  passages  are  to 
be  played  upon  such  parts  of  the  open  strings 
as  will  produce  the  harmonic  sounds,  marked  O. 

Harmonic  modulation.  A  change  in  the  harmony 
from  one  key  to  another. 

Harmonics.  1.  A  term  applied  to  those  con- 
comitant, accessory  sounds  or  over-tones,  ac- 
companying a  principal,  and  apparently  sim- 
ple tone.  2.  Harmonics  is  also  the  name 
given  to  certain  tones  produced  on  the  violin, 
harp,  and  other  stringed  instruments,  by  lightly 
77 


MUSIC   DICTIONARY 

toudiing  the  string  at  various  points  and  causing 
it  to  vibrate  in  two,  three,  or  more  sections. 
Also  called  Flageolet  tones  owing  to  their  peculiar 
character.  3.  The  Harmonics  of  a  sounding 
tube  (wind  instruments)  are  a  series  of  over-tones 
resulting  from  a  division  of  the  vibrating  air 
column.  The  fDllowing  series  of  harmonics  is 
based  on  a  deep  fundamental,  but  the  same  ratio 
is  preserved,  taking  the  pitch  of  any  open  string 
or  tube  as  the  fundamental  and  transposing  the 
series  accordingly.  The  notes  marked  x  are 
generally  faulty. 


I 


J^ 


\  i      i     J      ^      i      J     A      A     ^etc. 

length  J 


W 


Fundamental 

Harmonium.     A  small  reed-organ. 

Harmony.  The  agreement  or  consonance  of  two 
or  more  united  sounds.  The  art  of  combining 
sounds  into  chords  and  treating  those  chords 
according  to  certain  rules. 

Harmony,  close.  A  harmony  whose  tones  are 
compact,  the  upper  three  voices  lying  within  the 
compass  of  an  octave. 

Harmony,  dispersed.  A  harmony  in  which  the 
notes  forming  the  different  chords  are  separated 
by  wide  intervals. 

Harmony,  figured.  Harmony  in  which,  for  the 
purpose  of  melody,  one  or  more  of  the  parts  of 
a  composition  move,  during  the  continuance  of 
a  chord,  through  certain  notes  that  do  not  be- 
long to  that  chord. 

Harp.  A  stringed  instrument  of  very  ancient  ori- 
gin, consisting  of  a  triangular  frame,  having 
strings  extended  in  parallel  sections  from  the 
jpper  part  to  one  of  its  sides,  and  played  with 
the  fingers.  The  perfection  of  the  harp  did  not 
occur  until  1810,  when  Sebastian  Erard  intro- 
duced a  system  of  double-acting  pedals  by  which 
any  note  could  be  raised  either  a  semi-tone  or 
a  whole  tone,  at  will.  The  harp  has  very  nearly 
78 


MUSIC   DICTIONARY 

the  compass  of  the  piano,  starting  with  the  low- 
est Cb  of  that  instrument,  and  ending  with  its 
highest,  F^.  It  is  notated  as  the  piano,  on  two 
staves,  one  treble  and  one  bass.  Its  strings  are  of 
catgut  in  the  upper  octaves,  of  catgut  wired,  or  of 
heavy  wire,  in  the  lower.  The  harp  sounds  best 
in  flat  keys.  It  has  usually  forty-six  strings. 
See  Flood's  ''  Harp." 

Harp,  CEolian.     See  (Eolian  Harp. 

Harpsichord.  An  instrument  much  used  before 
the  invention  of  the  pianoforte.  In  shape  it 
resembled  the  grand  pianoforte  and  had  some- 
times two  rows  of  keys,  but  it  was  very  inferior 
to  that  instrument  in  capacity  for  power  and 
expression.  Its  wires  were  not  struck  by  ham- 
mers, but  plucked  by  quills.  See  Piano.  The 
compass  was  about  four  octaves,  but  sometimes 
more. 

Haupt  (Ger.)  (houpt.)     Head,  principal. 

Haupt-satz  (Ger.)  (houpt  satz.)  Principal  theme, 
or  subject;   the  motive,  or  leading  subject. 

Haupt- werk  (Ger.)  (houpt-vark.)  Chief  work,  or 
manual;  the  great  organ. 

Hautbois    (Fr.)    (6-bwa.)      The    oboe  or  hautboy. 

H  dur  (Ger.)  (ha  doer.)     B  major. 

Head.  1.  The  membrane  stretched  over  drum, 
tambourine  or  banjo.  2.  The  scroll  and  peg 
box  of  violin.     3.    Point  of  violin  bow. 

Head  voice.  The  upper  or  highest  register  of  the 
voice;  the  falsetto  in  men's  voices. 

Heftig  (Ger.)  (hef-tig.)     Vehement,  boisterous. 

Heftigkeit  (Ger.)  (kef-tlg-klt.)  Vehemence,  im- 
petuosity. 

Helicon  (Eng.)  (hel-i-kon.)  A  tuba  made  in  such 
shape  as  to  circle  the  body  and  rest  on  the  shoul- 
der, for  marching  or  mounted  band  use. 

HeU  (Ger.)  (hel.)     Clear,  bright.  c«z 

Hemidemisemiquaver.     A  sixty-fourth  note.  ^ 
Term  obsolete.  '^ 

Hervortretend  (Ger.)  (har-/or-tra-tund.)  Promi- 
nently and  distinctly. 

HerzUch  (Ger.)  (herfs-llkh.)     Tenderly,  heartfelt. 

Hidden.  A  term  applied  to  resultant  fifths  or  oc- 
taves when  the  two  harmonic  voices  move  in 
parallel  motion  from  a  position  where  they  do 
not  define  the  interval  of  fifth  or  octave.  Hidden 
fifths  and  octaves  are  allowable. 
79 


MUSIC   DICTIONARY 

High  Mass.  The  Mass  celebrated  in  the  Roman 
Catholic  churches  by  the  singing  of  the  chor- 
istri-s,  distinguishing  it  from  the  low  Mass  in 
wL/ch  the  prayers  are  read  without  singing. 

Hilfs  (Ger.)  (Auxiliary;  ilfsHnie,  legerhne.  Hilfs- 
note,  auxiliary  note;  Hilfsstimme,  mutation-stop 
(often  Hiilfs). 

Hirtlich  (Ger.)  (hirt-hkh.)     Pastoral,  rural. 

His  (Ger.)  (his.)     The  note  B  sharp. 

H  moll  (Ger.)  (ha-mol.)     The  key  of  B  minor. 

Hoboe  (Ger.)  (ho-bo-e.)     Oboe,  hautboy. 

Hochzeits-lied  (Ger.)  (hokh-tslis  led.)  Wedding- 
song. 

Hohl-flote  (Ger.)  (JiGl-fio-te.)  Hollow-toned  flute; 
an  organ-stop  producing  a  thick  and  powerful 
hollow  tone. 

Hohl-quinte  (Ger.)  (hoi  quin-tS.)  A  quint  stop  of 
the  hohl-flute  species  sounding  a  fifth  higher. 

Hold.  A  character  (''^)  indicating  that  the  time 
of  a  note  or  rest  is  to  be  prolonged.     See  Fermata. 

Holding-note.  A  note  that  is  sustained  or  con- 
tinued while  the  others  are  in  motion. 

Holz-flote  (Ger.)  (Jiblts  fl6-te.)  Wood  flute;  an  or- 
gan-stop. 

Homophony.  Unison;  two  or  more  voices  singing 
in  unison.  In  modern  music,  a  style  in  which 
one  melody  or  part,  supported  to  a  greater  or 
less  extent  by  chords  (an  accompanied  melody) 
predominates.  It  is  the  opposite  of  polyphony, 
where  different  melodies  are  heard  simultaneously. 

Hook.     A  stroke  attached  to  the  stems    /  |s     ^  \ 
of  eighth  notes,  sixteenth  notes,  etc.,      ^  ^      '^^ 

Horn.     See  Horn,  French. 

Horn,  English.     See  Cor  Anglais. 

Horn,  French.  An  orchestral  instrument  of  brass, 
consisting  of  a  long  tube  from  9  to  18  feet  long 
twisted  into  several  circular  folds,  and  gradually 
increasing  in  diameter  from  the  mouth-piece  to 
the  end.  This  instrument  is  most  frequently 
called  simply  the  horn.  There  are  horns  in  all  the 
different  keys,  but  it  is  not  necessary  to  have  a 
special  instrument  in  each  key,  for,  by  the  ad- 
dition of  sections  of  tubing,  called  crooks,  the 
horn  can  be  lengthened  and  set  in  another  key 
than  its  natural  one.  The  horn  generally  used 
in  the  orchestra  is  the  one  in  F,  which,  in  its 
natural  state,  sounds  a  perfect  fifth  lower  than  its 
80 


MUSIC  DICTIONARY 

notation.  The  original  (VV aid-horn)  could  yield 
only  the  natural  hnrmonics  (which  see)  of  its  tube. 
A  few  of  these  tones  could  be  flatted  by  par- 
tially slopping  the  bell.  The  modern  F  horn 
with  valves  gives  the  full  chromatic  scale  from 


Writtea 


tes: 


The  few  notes  above  or  below  this  compass  are 
rarely  used.  The  quality  of  the  horn  is  mel- 
low and  tender,  its  tone-co{or  suiting  it  to  ro- 
mantic effects,  and  woodland  and  forest  pic- 
tures, but  the  stopped  tones  are  the  reverse  of 
this,  and  are  the  most  repulsive  tone-color  that 
can  be  produced  in  the  orchestra.  See  Front's 
"  The  Orchestra,"  and  A.  Elson's  "  Orchestral 
Instruments  and  their  Use." 

Hornpipe.  An  old  dance  in  triple  time,  pecuUar 
to  the  English  nation.  It  is  supposed  to  have 
received  its  name  from  the  instrument  played 
during  its  performance.  Modern  hornpipes  are 
usually  in  common  time  and  of  a  more  lively 
_  character  than  the  ancient  hornpipe. 

Hosanna  (Lat.)  {ho-zdn-na.)  Part  of  the  Sanctus 
in  a  Mass. 

Hurdy-gurdy.  An  old  instrument  consisting  of 
four  strings,  which  are  acted  upon  by  a  wheel 
rubbed  in  resin  powder,  which  serves  as  a  bow. 
Two  of  the  strings  are  affected  by  certain  keys, 
which  stop  them  at  different  lengths  and  pro- 
duce the  tune,  while  the  others  act  as  a  drone 
bass.  This  instrument  was  imitated  by  Schubert 
in  his  song,  Der  Leiermann. 

Hurtig  (Ger.)  (/loor- tig.)  Quick;  swiftly;  same 
meaning  as  Allegro. 

Hydraulic  organ.  An  organ  whose  motive  power 
was  water,  and  the  invention  of  which  is  of 
much  greater  antiquity  than  the  pneumatic  or 
wind-organ.  It  is  supposed  to  have  been  in- 
vented by  Ctesibius,  a  mathematician  of  Alex- 
andria. 

Hymn.  A  song  of  praise  or  adoration  to  the 
Deity;  a  short,  religious  lyric  poem  intended 
81 


MUSIC   DICTIONARY 

to  be  sung  in  church.  Anciently,  a  song  in  honor 
of  the  gods  or  heroes. 

Hymn,  vesper.  A  hymn  sung  in  the  vesper  ser- 
vice of  the  Cathohc  Church. 

Hyper  (Gr.)  (hl-per.)     Above. 

Hyper-ditonos  (Gr.)  (/i2-per-di-io-n6s.)  The  third 
above. 

Hypo.    Below. 


I  (It.)  (masculine  plural.)     (e.)     The. 

Iambic.     }  A  poetical  and  musical  foot,  consisting 
Iambus.    (  of  one  short  unaccented  and  one  long 

accented  note  or  syllable,  ^  — . 
Idyl.     A  short  poem  in  pastoral  style;   an  eclogue. 

II  (It.)  (el.)     The. 

Uarita  (It.)  (e-lar-e-fa.)  Hilarity,  cheerfulness, 
mirth. 

II  piti  (It.)  (eel  pg-oo.)     The  most. 

Im  (Ger.)  (em.)     In  the. 

Imitando  (It.)  (ee-mee-^a?2-do.)     Imitating. 

Imitation  (Lat.,  imitaiio;  Fr.,  imitation;  It., 
imitazione;  (jer.,  Nachahmung.)  The  repeti- 
tion of  a  motive,  phrase,  or  theme  proposed  by 
one  part  (the  antecedent)  in  another  part  (the 
consequent),  with  or  without  modification. 

Immer  (Ger.)  (im-m&r.)     Always,  ever. 

Impaziente  (It.)  (im-pa-tse-en-te.)  Impatient,  hur- 
ried. 

Impazientemente  (It.)  (im-pa-tse-€n-tg-me?i-t6.) 
Impatiently,  hurriedly. 

Imperfect  cadence.     See  Cadence,  imperfect. 

Imperfect  intervals.     See  Intervals. 

Imperioso  (It.)  (im-pa-re-o-zo.)  Imperious,  pomp- 
ous. 

Impeto  (It.)  (im-pa-to.)     Impetuosity,  vehemence. 

Impetuoso  (It.)  (im-pa-too-d-z6.)  Impetuous,  ve- 
hement. 

Imponente  (It.)  (im-po-nen-t6.)  Imposingly, 
haughtily. 

Impresario  (It.)  (im-pr^-zd-re-o .)  A  term  applied 
by  the  Italians  to  the  manager  or  conductor  of 
operas  or  concerts. 

Impromptu  (Fr.)  (ahn-pron-tu.)  An  extempore 
neous  production. 

82 


liiUSIC   DICTIONARY 

Improperia  (Lat.)  {reproaches.)  In  the  Roman  rit- 
ual, a  series  of  antiphons  and  responses  forming 
part  of  the  solemn  service  substituted,  on  the 
morning  of  Good  Friday,  for  the  usual  daily 
Mass. 

Improvisation.  The  art  of  singing,  or  playing 
music  without  preparation;  extemporaneous  per- 
formance.    Also  a  form  of  composition. 

In  (It.  and  Lat.)  (en.)     In,  into,  in  the. 

In  alt  (It.)  (in  alt.)     See  Alt. 

Incalzando  (It.)  (in-caUsan-do.)  With  growing 
warmth  and  fervor. 

Incarnatus  (Lat.)  (in-car-ria-tus.)  Part  of  the  Credo 
of  the  Mass. 

Inconsolato  (It.)  (en-k6u-so-/a-to.)  In  a  mournful 
style. 

Inconsonant.     Discordant. 

Incordamento  (It.)  {en-kor-dH-^nen-to.)  Tension 
of  the  strings  of  an  instrument. 

Incordare  (It.)  (in-k6r-da-r6.)  To  string  an  in- 
strument. 

Incidental  music.  Descriptive  music,  generally  or- 
chestral, accompanying  a  drama.  Played  in- 
dependently in  the  form  of  overture,  entr'acte, 
etc.,  or  during  spoken  dialogue  or  pantomime. 
Vocal  music  is  sometimes  introduced  inci- 
dentally during  the  action  of  a  play. 

Inflection.  Any  change  or  modification  in  the 
pitch  or  tone  of  the  voice. 

Linig  (Ger.)  (f?i-nlg.)  Sincere;  cordial;  with  depth 
of  feeling. 

Innocentemente  (It.)  (in-no-tshen-t6-7ne7i-t6.)  In- 
nocently;  in  an  artless  and  simple  style. 

Ino  (It.)  (e-no.)  An  Italian  final  diminutive.  As 
Scherzo,  Scherzino.  The  feminine  is  Ina,  aa 
Sonata,  Sonatina. 

Inquieto  (It.)  (in-que-a-to.)  Restless,  uneasy,  agi- 
tated. 

Insensibile   (It.)     (in-sen-see-bi-l6.)  i  In- 

Insensibilmente    (It.)    (in-sen-se-bel-men-tg.)   ) 
sensibly;  by  small  degrees;  by  little  and  little. 

Instantemente  (It.)  (in-stan-tS-/nen-te.)  Vehe- 
mently, urgently. 

InstnmientaLion.     The   act  of   writing  for  an  or- 
chestra or  band  with  a  practical  knowledge  of 
each  instrument,  and  of  the  distribution  of  har- 
mony among  the  different  instruments. 
83 


MUSIC  DICTIONARY 


Instruments 

A   CLASSIFIED   TABLE    OF   INSTRUMENTS. 

String  Insiruvients. 

Percussion  — 

Pianoforte. 

Schlagzither. 
Friction  (Bowing)  — 

Violin. 

Viola. 

Violoncello. 

Contrabass. 

Viol  d'Amore. 
Plucking  — 

Harp. 

Guitar. 

Mandolin  (plectrum  or  pick). 

Banjo. 

Zither. 


Wind-inslrumtnls  of  Wood. 

With  open  mouth-piece  — 

Flute. 

Piccolo. 

Fife. 
Single  reed  — 

Clarinet. 

Bass  clarinet. 

Basset-horn. 

Pedal  Clarinet. 
Double  Reed  — 

Oboe. 

English  Horn. 

Bassoon. 

Contrabassoon. 


Brass  Instruments. 

With  cup  mouth-piece  — 
Cornet. 
Trumpet. 
French  Horn. 
Trombone  (keyed). 
Trombone  (slide). 

84 


Ilf^SIC   DICTIONARY 


Tuba. 

Saxhorns. 

Bugle. 

Post-horn. 

Ophicleide. 
With  single  reed  — 

Saxophone. 
With  double  reed  — 

Sarussophone. 


Instruments  of  Percussion. 


With  definite  pitch 

Kettle  drum. 

Xylophone. 

Glockenspiel. 

Bells. 

Celesta. 
Without  pitch  — 

Bass-drum. 

MiUtary  drum. 

Cymbals. 

Gong. 

Tambourine. 

Castanets. 

Triangle. 


The  organ  combines  most  of  the  effects  of  the 
above-given  wind-instruments,  and  there  are 
also  obsolete  instruments,  such  as  the  clavichord, 
harpsichord,  oboe  di  caccia,  etc.,  which  are  not 
given  in  the  above  list. 

Interlude.  A  short  musical  representation,  intro- 
duced between  the  acts  of  any  drama  or  be- 
tween the  play  and  afterpiece;  an  intermediate 
strain  or  movement  played  between  the  verses 
of  a  hymn,  or  of  a  song. 

Intermezzo  (It.)  {in-t&r-met-so.)  An  interlude,  in- 
termediate, placed  between  two  others;  detached 
pieces  introduced  between  the  acts  of  an  opera. 
Also  a  short  movement  in  the  symphony  taking 
the  place  of  the  Scherzo.  In  the  old  Suite,  the 
Intermezzi  were  from  two  to  four  short  move- 
ments, of  moderate  tempo  (generally  minuets  or 
gavots),  placed  between  the  sarabande  and  tbe 
finale,  —  the  gi§u^. 

85 


MUSIC  DICTIONARY 

Interval  (Lat.,  intervaUum;  Gsr.,  Intervall;  Fr., 
intervaUe;  It.,  intervallo.)  The  difference  be- 
tween any  two  notes,  measured  by  degrees  on 
the  staff.  The  interval  is  counted  from  the  low- 
est note  to  the  highest.  Two  notes  on  the  same 
degree  constitute  a  Prime,  etc. 


.§     8     I     i     3     ^     ?     ^ 

i^       ®        £       ,=       v=       .2        ®        " 


^1^^^^=^ 


Apart  from  numerical  designation.  Intervals  are 
classified  as  Diminished,  Minor,  Major,  Aug- 
mented and  Perfect. 


73 


.ja  ja  j3 


H  H  cc  CQ  P^ 


fe^^ 


^n- 


-:^- ^- ^— 

Dim.       Min.       Maj.     Aug.   "    Per. 

The  above  are  only  samples  of  qualifications, 
there  are  Major,  Minor  and  Augmented  Seconds, 
etc.  Each  Interval  is  limited  to  certain  quali- 
fications, which  can  properly  be  explained  only  in 
the  theory  and  practice  of  Harmony. 

Chromatic  Alteration. 

Each  major  or  perfect  interval  when  widened 
by  rais'ing  the  upper  note  a  half-step,  becomes 
augmented.  Each  major  interval  contracted  by 
lowering  the  upper  note  a  half-step,  becomes 
minor.  Each  minor  or  -perfect  interval  contracted 
by  raising  the  lower  note  a  half-step,  becomes 
diminish^. 

Inversion  of  Intervals. 

Writing  the  lower  note  an  octave  higher,  or 
the  upper  note  an  octave  lower,  is  called  inverting 
the  interval.  Using  the  intervals  last  given, 
we  obtain 

86 


MUSIC    DICTIONARY 


it 


Aug.     IMaj.         Dim.     Min.      Per. 


Note  tliat  apart  from  the  change  in  numerical 
designation,  the  character  of  the  interval  is  also 
changed  in  the  first  fom:.  The  Diminished 
Third  becomes  an  Augmented  Sixth,  etc.  The 
last,  the  Fifth,  however  does  not  change  its 
diarader,  hence  it  is  called  a  Perfect  Interval. 

General  Rule  in  Inversions. 
Perfect  intervals    remain    perfect    (Primes, 

Fourths,  Fifths,  and  Octaves) 

Major  intervals  become  minor. 

Minor  intervals  become  major, 

Augmented  intervals  become  diminished. 

Diminished  intervals  become  augmented. 

Intimo  (It.)  (in-te-mo.)  Inward  feeling;  expres- 
sive.    See  Innig. 

Intonation.  A  word  referring  to  the  proper  emis- 
sion of  the  tone  (voice  or  instrument)  so  as  to 
produce  any  required  note  in  exact  tune;  the 
act  of  modulating  the  voice.  The  chanting  of 
Plain-song. 

Intrada  (It.)  (in-^m-da.)  A  short  prelude  or  in- 
troductory movement. 

Intrepidamente  (It.)  (in-tr5-pe-da-??zen-tS.)  Boldly; 
with  intrepidity. 

Intrepidezza  (It.)  (in-trg-pe-tZef-sa.)  Intrepidity, 
boldness. 

Intrepido  (It.)  (en-fra-pe-do.)     Intrepid,  bold. 

Introduction.  That  movement  in  a  composition 
the  design  of  which  is  to  prepare  the  ear  for  the 
movements  which  are  to  follow.  It  may  be  a 
mere  phrase,  or  an  entire  division  of  a  work. 
See  Beethoven's  1st,  2d,  and  7th  Symphonies. 

Introduzione  (It.)  (en-tro-doo-tse-o-ne.)  An  in' 
troduction. 

87 


MUSIC  DICTIONARY 

Introit  (Eng.)  (In-fro-It.)    I    Entrance;    a  hymn  or 

Introit  (Fr.)  (S,nh-twa.)  (  antiphonal  chant  sung 
while  the  priest  approaches  the  altar  at  the 
commencement  of  the  Mass.  In  the  Anghcan 
Church,  a  short  anthem,  psalm,  or  hynm,  sung 
while  the  minister  proceeds  to  the  table  to  ad- 
minister the  Holy  Communion.  Formerly,  in 
some  English  cathedrals,  the  Sanctus  was  sung 
as  an  Introit. 

Invention  (Fr.)  (anh-vanh-si-6nh.)  An  old  name 
for  a  species  of  prelude  or  short  fantasia:  a 
short  piece  in  free  contrapuntal  style. 

Inversion.  A  change  of  position  with  respect  to 
intervals  and  chords;  the  lower  notes  being 
placed  above,  and  the  upper  notes  below.  See 
Interval.  A  chord  is  inverted  when  a  note  other 
than  the  fundamental  appears  as  the  lowest  note. 


Chord.  Inversions.    Chord.     Inversions. 

Inverted  turn.     A  turn  which  commences  with  the 
lowest  note  instead  of  the  highest. 

Invocazione     (It.)     (in-v6-ka-tse-o-n6.)     An    invo- 
cation, or  prayer. 

Ira  (It.)  (e-ra.)     Anger,  wrath.     Ire. 

Irate  (It.)  (i-m4o.)     Irate.     Angrily,  passionately. 

Irlandais    (Fr.)     (ir-lanh-da.)     An    air,    or    dance 
tune,  in  the  Irish  ytyle. 

Ironicamente  (It.)   (i-ron-e-ka-^nen-tS.)     Ironically. 

Ironico  (It.)  (i-ro-ne-ko.)     Ironical. 

Irresoluto  (It.)  (ir-rS-zo-Zoo-to.)     Irresolute,  waver- 
ing. 

Issimo    (es-se-mo.)     An   Italian  final,   superlative, 
as  Fortissimo. 

Istesso  (It.)  (ees-tes-so.)     The  same. 

Istesso  tempo  (It.)  {ees-tes-s6  t&m-pd.)     The 
time. 

Italian  sixth.     A  name  sometimes  given  to  a  chord 
composed  of  a  major  third  and 
augmented  sixth. 


# 


itfsi 


Ita,  missa  est  (Lat.)   (e-ta  mis-sa  est.)     The  ter- 
mination  of   the   Mass   sung   by  the  priest  to 
88 


MD»iC  DICTIONARY 

Gregorian  music.  It  means  "  Go,  ye  are  dis- 
missed," and  gave  the  name  Missa  or  Mass  to 
the  entire  service. 


Jack.  The  quill  which  strikes  the  strings  of  a 
harpsichord,  or  the  upright  lever  in  piano  action. 

Jagd-horn  (Ger.)  (ydgd-honi.)     Hunting-horn. 

Jagd-stiick  (Ger.)  {ydgd-stiik.)     A  hunting-piece. 

Jager-chor    (Ger.)    (yd-gher-kor .)     See   Jaegerchor*, 

Jaleo  (Spa.)  (ha-Za-6.)    A  Spanish  national  dance. 

Janko  keylDoard.  A  system  of  pianoforte  ke^.. 
invented  by  a  Hungarian,  Paul  von  Janko,  in 
1882.  It  is  two  series  of  keys  (each  key  repre- 
senting a  step  of  one  whole  tone),  set  in  three 
different  positions  (six  ranks  of  keys  in  all), 
and  presents  the  following  advantages:  1.  The 
same  fingering  of  scales  and  runs  in  any  key. 
2.  The  widest  intervals  are  brought  within  the 
compass  of  a  small  hand.  3.  Octave  passages 
are  made  especially  easy.  There  are  other  ad- 
vantages, but,  as  yet,  very  few  prominent  artists 
have  used  the  ingenious  invention. 

Jarabe  (Spa.)  (ha-ra-be.)     A  Spanish  dance. 

Jeu  (Fr.)  (zhuh.)  Play;  the  style  of  playing  on 
an  instrument;  also  a  register  in  an  organ  or 
harmonium;  also  Grand  jeu,  plein  jeu,  full  organ; 
full  power;  demi-jeu,  half -power. 

Jeu  d'anche  (Fr.)  (zhtih  d'ansh.)  A  reed-stop  in 
an  organ. 

Jew's  harp.  A  small  instrument  of  brass  or  steel, 
and  shaped  somewhat  like  a  lyre  with  a  thin, 
vibrating  tongue  of  metal:  when  played,  it  is 
placed  between  the  teeth,  and  struck  with  the 
forefinger.  The  initial  tone  wave  produced  by 
the  reed  may  be  varied  in  pitch  according  to 
the  position  of  the  mouth  (acting  as  a  resonance 
chamber),  the  breath  controlling  the  force  of  tone. 

Jig.     See  Gigue. 

Jodehi  (Ger.)  (2/0-d'ln.)  A  style  of  singing  peculiar 
to  the  Tyrolese  peasants,  the  natural  voice,  and 
the  falsetto,  being  used  alternately.     A  warble.; 

Jota  (Spa.)  (/lo-ta.)  A  Spanish  national  dance  in 
triple  time  and  rapid  movement. 

Jovialisch  (Ger.)  (yo-fi-d-lish.)  Jovial,  joyous^ 
merry. 

89 


MUSIC  DICTIONARY 

Jubel-lied  (Ger.)  (2/00-b'l-led.)     Song  of  jubilee. 

Jubilate.  In  the  Anglican  liturgy,  the  one  hun- 
dredth psalm,  following  the  second  lesson  in  the 
morning  service. 

Jubilee.  A  season  of  great  public  joy  and  fes- 
tivit^^  Among  the  Jews,  every  fiftieth  year  was 
a  jubilee. 

Jubiloso    (It.)    (yoo-be-Zo-zo.)     Jubilant,   exulting. 

Just.  A  term  applied  to  all  consonant  intervals, 
and  to  those  voices,  strings,  and  pipes  that  give 
them  with  exactness. 


K 

Kammer  (Ger.)  (/cam-mSr.)     Chamber. 

Kanon  (Ger.)  (/ca-non.)     A  canon. 

Kapelle  (Ger.)  (kap-/?eWe.)     Chapel. 

Keck  (Ger.)  (kek.)     Pert,  fearless,  bold. 

Keckheit  (Ger.)  (/ce/c-liit.)     Boldness,  vigor. 

Kent  bugle.  A  bugle  having  six  keys  (sound- 
holes  and  pads),  four  of  which  are  commanded  by 
the  right  hand  and  two  by  the  left.     Obsolete. 

Keraulophon  (Ger.)  (ke-row-lo-fon.)  An  8-foot  or- 
gan-stop, of  a  reedy  and  pleasing  quality  of  tone; 
its  peculiar  character  being  produced  by  a  small 
round  hole  bored  in  the  pipe  near  the  top. 

Kettledrum.     See  Drum,  Kettle. 

Key.  1.  The  lever  by  which  the  sounds  of  a 
pianoforte,  organ,  or  harmonium  are  produced. 
2.  An  arrangement  by  which  certain  holes  are 
opened  and  closed  in  flutes,  oboes,  and  other  wind- 
instruments.  3.  A  scale,  or  series  of  notes  pro- 
gressing diatonically,  in  a  certain  order  of  tones 
and  semi-tones,  the  first  note  of  the  scale  being 
called  the  Key-note. 

Keyboard.  (Ger.,  Klaviatur,  Fr.,  Clavier,  It., 
Tastatura.)  The  rows  of  keys  upon  a  piano- 
forte, organ,  or  similar  instrument.  The  key- 
board as  at  present  arranged  for  piano,  or  organ, 
is  very  ancient.  The  oldest  actually  existing 
keyboard  of  the  present  style  is  on  a  spinet  in 
the  Paris  Conservatoire,  which  is  dated  1523. 
It  is  probable  that  the  shape  of  the  piano  key- 
board has  not  materially  changed  in  the  last 
five  hundred  years. 

For  various  compound  words  or  expressions  containing  Key 
or  Keys,  look  under  separate  headings,  Fundamental  Key,  etc 

do 


MUSIC   DICTIONARY- 

Key-note.     The  tonic,  or  first  note  of  every  scale. 

Keys,  pedal.  That  set  of  keys  belonging  to  an  or- 
gan which  are  acted  upon  by  the  feet. 

Kirchen-musik  (Ger.)  {kir-kWn-inoo-zlk.)  Church 
music. 

Kit.  The  name  of  a  small  pocket-violin  formerly 
used  bj''  dancing  masters.  Its  length  is  about 
sixteen  inches,  and  that  of  the  bow  about  seven- 
teen. 

Klagend  (Ger.)  (kld-g'iid.)     Plaintive. 

Klang  (Ger.)  (kldng.)     Sound,  tune,  ringing. 

Klangfarbe  (Ger.)  (kldng-iahrheh.)  Tone-color; 
quality  of  tone;  clang-tint. 

Klappe  (Ger.)  (kldp-pe.)  Key  of  any  wind-mstru- 
ment;  a  valve. 

Klar  (Ger.)  (klar.)     Clear,  bright. 

Klavier  (Ger.)  (kla-/er.)  Pianoforte,  harpsichord. 
See  Clavier. 

Klaviermassig  (Ger.)  (kla-/cer-may-sig.)  Suited  to 
the  piano. 

EUein  (Ger.)  (kiln.)  Minor;  speaking  of  inter- 
vals. 

Klein-gedackt  (Ger.)  (klln-^e^kht.)  A  small 
covered  stop  in  an  organ;  a  stopped  flute. 

KUngbar  (Ger.)  (/cKng-bar.)  ]  cio„„_^„.      r^-^nnnht 

Klingen  (Ger.)  (Mmg-'n.)  ^^h^^^^'     resonant, 

Klingend  (Ger.)  {kling-&nd.)  J      ^^^^mg. 

Knabenstimme  (Ger.)  {knd-Wn-stim-m<S.)  A  boy's 
voice;  a  counter  tenor. 

Knee-stop.  A  knee-lever  under  the  manual  of  the 
reed-organ;  there  are  three  kinds,  used  (a)  to 
control  the  supply  of  wind;  (b)  to  open  and  shut 
the  swell  box;    (c)  to  draw  all  the  stops. 

Konzert-meister  (Ger.)  {kon-tsert-ir\s-t^r.)  See 
Concert-meisler. 

Kraftig  (Ger.)  (kraf-tig.)  Powerful;  vigorous; 
full  of  energy. 

Elrakoviak  (kra-/co-vi-ak.)  The  Cracovienne,  a  Po- 
lish dance  in  f  time. 

Kreuz  (Ger.)  (kroits.)     A  sJiarp. 

Kreuz-doppeltes  (Ger.)  (kroits  dop-p^l-i^.)  A 
double  sharp  «. 

Kriegerisch  (Ger.)  (fcre-gh§r-Ish.)  War-like,  mar- 
tial. 

Kurz    (Ger.)    (koorts.)     Short,   detached   staccato. 

Kyrie  eleison  (Gr.)  (ke-re-a  a-la-ee-son.)     Lord  have 

mercy  upon  us.    The  first  movement  in  a  Mass. 

91 


MUSIC   DICTIONARY 


L.    Left  hand.     Notes  to  be  played  with  the  left 

hand  are  sometimes  written  with  an  L  over  thero, 

(Ger.,  Links;  Eng.,  Left.) 
La.     (It.  Fr.)  (la.)     A  syllable  applied  in  solfa-ing; 

to  the  note  A;    the  sixth  sound  in  the  scale  of 

Guido.     In    Italy    and    France,    the   note   A   is 

always  called  La.     The  article  tlie. 
Labial.     Organ-pipes    with    lips,    called    also  flite 

pipes. 
Lacrimosa  (Lat.)  (lah-cree-mo-zah.)     A  division  of 

the  Requiem  Mass. 
Lage  (Ger.)  (Zd-ghe.)     Position  of  a  chord,  or  of  the 

hand. 
Lagrimoso  (It.)  (Isi-gre-mo-zo.)     Weeping;   tearful; 

in  a  sad  and  mournful  style. 
Lamentando     (It.)     (ia-m6n-^n-do.)      Lamenting, 

mourning. 
Lamentations.     The  funeral  music  of  the  ancient 

Jews  was  called  by  this  name. 
Lamentevole   (It.)    (Iii-men-^a-v6-l6.)     Lamentable, 

mournful,  plaintive. 
Lamentoso      (It.)      (ia-mSn-io-zo.)      liamentable, 

mournful. 
Landler  (Ger.)  (land-l^r.)     A  country  dance,  or  air 

in  a  rustic  and  popular  style,   in  |  or  |  timec 

It  is  like  the  Tyrolienne. 
Landlich  (Ger.)  (land-likh.)     Rural. 
Land-lied    (Ger.)    (land-led.)     Rural   song;    rustic 

song. 
Lang  (Ger.)  (lang.)     Long. 
Langsam    (Ger.)    {Idng-ssim.)     Slowly;    equivalent 

to  Lento. 
Langsamer  (Ger.)  (Idng-ssL-mer.)    More  slowly. 

^^S^f^-^f^^^t-^^Jf^^-^^^^ij)  1  Languishing;  feeble; 
Languente  (It)  (lan-srw^u-tg.)     ^-^^  ^         ^^^ 

Languido  (It.)  (ian-gue-do.)     J  ® 

Largamente  (It.)  (lar-ga-7^^-t6.)  )  Broadly.    Fully. 

Largamento  (It.)  (lar-ga-men-to.)  S 

Larghetto  (It.)  (Ia.r-ghet-t6.)  A  word  specifying  a 
time  not  quite  so  slow  as  that  denoted  by  largo,  of 
which  word  it  is  the  diminutive. 

Largo  (It.)  (Idr-go.)     A  slow  and  solemn  degree  of 
movement.     Largo  is  often  combined  with  modi- 
fying words.     It  may  be  introduced  for  temporary 
effect  only  in  otherwise  faster  movements. 
92 


MUSIC   DICTIONARY 

Larigot  (Fr.)  (la-ree-go.)  Shepherd's  flageolet  or 
pipe;  an  organ-stop  tuned  an  octave  above  the 
twelfth. 

Larynx.  The  upper  part  of  the  trachea.  It  is 
composed  of  five  annular  cartilages,  placed 
above  one  another  and  united  by  elastic  liga- 
ments, by  which  it  is  so  dilated  and  contracted  as 
to  be  capable  of  varying  the  tones  of  the  voice. 

Laryngoscope,  an  instrument  for  examining  the 
larynx.  Devised  in  1854  by  Manuel  Garcia  the 
celebrated  singing-master.  With  modern  devel- 
opment it  is  one  of  the  most  important  aids  in 
vocal  physiology. 

Lauda  (It.)  (la-oo-da.)  Laud;  praise;  hymn  of 
praise. 

Laudamus  te  (Lat.)  (lou-cte-mtis  ta.)  We  jn-aise 
Thee;  part  of  the  Gloria. 

Laufer  (Ger.)  (Jioi-iev.)  A  flight  or  run  of  rapid 
notes;  a  roulade. 

Launig  (Ger.)  {lou-vlg.)     Humorous,  capricious. 

Le  (Fr.)  (luh.)      )    r^. 

Le  (It.  pi.)  (le.)   (    ^^®- 

Leader.  The  first  or  principal  violin  in  an  orches- 
tra; a  director  of  a  choir,  or  of  a  military  band, 
generally  the  first  cornet.  Sometimes  used  for 
condiLcLor. 

Leading-note.  The  major  seventh  of  any  scale, 
the  semi-tone  below  the  key-note. 

Leaning-note.     See  Appoggiatura. 

Leap.    See  Skip. 

Leben  (Ger.)  (^-b'n.)     Life,  vivacity. 

Lebhaft  (Ger.)  (^6-haft.)     Lively,  vivacious,  quick. 

Lecon  (Fr.)  (lus-sonh.)     A  lesson;   an  exercise. 

Ledger  Uiies.  I  The  short  extra  3r  additional  lines 

Leger  lines.  )  drawn  above  or  below  the  staff,  for 
the  reception  of  such  notes  as  are  too  high  or  too 
low  to  be  placed  on  the  staff  proper. 

Legatissimo  (It.)  (l§-ga-fes-se-mo.)  Exceedingly 
smooth  and  connected. 

Legato  (It.)  (l^gd-to.)  In  a  close,  smooth,  grace- 
ful manner;  the  opposite  to  staccato.  It  is  often 
indicated  by  a  sign  called  a  slur  -- — ^. 

Legende  (Fr.)  (lay-zhand.)  A  legend;  a  piece 
written  in  a  romantic,  narrative  style. 

Leger  (Fr.)  (la-zhair.)     Light,  nimble. 

Legerement  (Fr.)  (la-zhair-manh.)  Lightly,  nim- 
bly, gayly. 

93 


MUSIC   DICTIONARY 

Leggerezza  (It.)  (I6d-jer-e<-tsa.)  Lightness  and 
agility. 

Leggiadra    (It.)    (I6d-je-a-dra.)     Graceful,    elegant. 

Leggiero  (It.)  (led-je-a-ro.)  Light,  swift,  deU- 
cate. 

Leichen-musik  (Ger.)  {ll-kWn-moo-zik.)  Funeral 
music. 

Leicht  (Ger.)  (likht.)     Light,  easy,  facile. 

Leichtfertig  (Ger.)  {llkht-fax-tlg.)  Lightly,  care- 
lessly. 

Leidenschaftlich  (Ger.)  (Zi-den-shaft-likh.)  Im- 
passioned, passionate. 

Leise  (Ger.)  (Zl-ze.)     Low,  soft,  gentle. 

Leitmotif  (Ger.)  (llt-mo-teef.)  A  well-marked  theme 
or  phrase  associated  with  a  character,  thought 
or  action  in  the  modern  music-drama.  It  ren- 
ders the  orchestral  accompaniment  of  greater 
value  and  meaning.  These  characteristic  themes 
are  seldom  varied  except  by  harmonic  coloring 
as  the  situation  may  demand.  Richard  Wagner 
may  be  said  to  have  developed  the  leitmotij'  to 
its  present  significance. 

Leno  (It.)  {lay-no.)    Weak,  feeble,  faint. 

Lentamente  (It.)  (len-ta-?7^<^?^-te.)     Slowly. 

Lentando  (It.)  (len-tdn-dd.)  With  increased  slow- 
ness. 

Lentezza,  con  (It.)  (len-iei-tsa,  kon.)  With  slowness 
and  delay. 

Lento  (It.)  (Zcn-to.)     Slow. 

Lestamente   (It.)    (lSs-ta-7nen-t6.)     Quickly,  lively. 

Lsstezza  (It.)  (les-tet-tsa.)     Agility,  quickness. 

Lesto  (It.)  (Zes-to.)     Lively,  nimbly,  quick. 

Libero  (It.)  (Ze-be-ro.)     Free,  unrestrained. 

Libretto  (It.)  (le-5reZ-to.)  The  text  of  an  opera  or 
other  extended  piece  of  music. 

Lieblich  (Ger.)  (ZeWikh.)     Lovely,  charming. 

Lieblich-gedackt  (Ger.)  (leb-lMi  gh^-ddkht.)  A 
stopped  diapason  organ-register  of  sweet  tone. 

Lied  (Ger.)  (leed.)     A  song;  a  ballad;  alay._ 

Lieder  ohne  Worte  (Ger.)  (Zee-dSr  o-ne  For-tS.) 
Songs  without  words. 

Ligature.  A  slur;  an  old  name  for  a  tie  or  bind. 
A  group  of  notes  executed  in  one  breath  or 
phrase. 

Linke  Hand  (Ger.)  (lln-k^  hand.)     The  left  hand. 

Lip.  1.  The  lips  of  a  flue-pipe  are  the  flat  sur- 
faces above  and  below  the  mouth,  called  the 
04 


MUSIC   DICTIONARY 

upper  and  lower  lip.  2.  (Ger.,  Ansalz;  Fr., 
embouchure;  It.,  imhoccatura.)  The  art  or  faculty 
of  so  adjusting  the  lips  to  the  mouth-piece  of  a 
wind-instrument  as  to  produce  artistic  effects  of 
tone.     Also  lipping. 

Liscio  (It.)  (?ee-she-o.)     Simple,  unadorned,  smooth. 

Lispelnd    (Ger.)    (Zis-pglnd.)     Lisping,    whispering. 

L'istesso  (It.)  (Iees-^es-s6.)     The  same. 

Litany.  A  solemn  form  of  supplication  used  in  pub- 
lic worship. 

Liturgy.  The  ritual  for  public  worship  in  those 
churches  which  use  written  forms. 

Lob-gesang  (Ger.)  {loh-^e-zdng.)  A  hymn,  or 
song  of  praise. 

Loco  (It.)  (^o-ko.)  Place;  a  word  used  to  indi- 
cate a  return  to  the  written  register  after  a  series 
of  notes  have  been  executed  an  octave  higher 
through  use  of  8™.  In  modem  music  the  ter- 
mination of  a  dotted  line  following  8'*  indicates 
point  of  return  to  written  register. 

Long  metre.  A  stanza  of  four  lines ,  in  iapatF'* 
measure,  each  line  containiiij^  eigbu  syhaoies. 

Long  mordent.     See  Mordent  (double). 

Lontano  (It.)  (Lon-td-no.)  Distant;  remote;  a 
great  way  off. 

Loure  (Fr.)  (loor.)  An  old  dance  of  slow  time  and 
dignified  character,  either  three  or  six  quarter 
notes  to  the  measure. 

Lugubre  (It.)  (loo-^oo-bre.)  Lugubrious,  sad, 
mournful. 

Lullaby.    A  cradle  song;  a  soft,  gentle  song. 

Lunga  pausa  (It.)  (loon-ga,  pa-oo-za.)  A  long 
pause,  or  rest.     Sometimes  written  Limga. 

Lusingando      (It.)      (loo-zen-gan-do.)    \    o^^iu:^^. 

Lusinghevole  (It.)  (loo-zen-ge-vo-le.)  ]  ^oo^^^^g' 
coaxing;  persuasively;  insinuatingly. 

Lustig  (Ger.)  (Zoos-tig.)     Merrily,  cheerfully,  gayly= 

Lute.  A  very  ancient  stringed  instrument,  for- 
merly much  used,  and  containing  at  first  only 
five  strings,  but  to  which  more  were  afterwards 
added. 

Luttuoso  (It.)  Goot-too-o-zo.)  Sorrowful,  mourn- 
ful. 

Lyre.  One  of  the  most  ancient  of  stringed  instru- 
ments, a  species  of  harp. 


95 


MUSIC  DICTIONARY 

M 

M.  This  letter  is  used  as  an  abbreviation  of  mez- 
zo, also  of  various  other  words,  as  metronome, 
mano,  main,  manual,  and  also  in  connection  with 
other  letters. 

M.  M.  The  abbreviation  for  MaelzeUs  Metro- 
nome. 

Ma  (It.)  (ma.)  But,  as  Allegro  ma  non  troppo^ 
quick,  but  not  too  much  so. 

Madrigal.  An  elaborate  vocal  composition,  in 
three,  four,  five,  or  six  parts,  without  accom- 
paniment, in  the  strict  or  ancient  style,  with 
imitation;  the  parts  or  melodies  moving  in  that 
conversational  manner  peculiar  to  the  music  of 
the  sixteenth  and  seventeenth  centuries.  The 
madrigal  is  generally  sung  in  chorus. 

Maestevole  (It.)  (ma-6s-fe-v6-l6.)  Majestic,  ma- 
jestical. 

Maestoso  (It.)  (ma-€s-io-z6.)  Majestic,  stately, 
dignified. 

Maestro  (It.)  (ma-es-tro.)  Master,  composer;  an 
experienced,  skilful  artist. 

Maggidre  (It.)  (mad-je-o-r6.)     The  major  key. 

Magnificat  (Lat.)  (mSg-nee-fee-kat.)  A  part  of  the 
vespers,  or  evening  service  at  the  Roman  Cath- 
oHc  Church. 

Main  (Fr.)  (mSnh.)     The  hand. 

Main  droite  (Fr.)  (mS,nh  drwat.)     Right  hand. 

Main  gauche  (m3,nh  gosh.)     The  left  hand. 

Majeur  (Fr.)  (ma-zhtlr.)     Major;  major  key. 

Major.  Greater,  in  respect  to  intervals,  scales,  etc. 
It  is  used  in  combination  with  many  other  words. 
See  Intervals. 

Major  scale.  The  scale  m  which  the  haK-steps  fall 
between  the  thu-d  and  fourth,  and  seventh  and 
/jghth  tones,  both  in  ascending  and  descending. 
Also  in  which  the  intervals  reckoned  from  the 
key-note  are  either  major  or  perfect. 

Malmcolico  (It.)   (ma-len-fco-le-ko.)   )    lyTplanrholv 

Malinconia  (It.)  (ma-len-fco-nl-a.)      f    ivieiancnoiy. 

Malinc6nico  (It.)  (ma-len-A;o-ne-ko.)  In  a  melan- 
choly style. 

Mancando  (ItJ  (msm-kdn-do.)  Decreasing;  dying 
away. 

Mandela  (It.)   (man-do-la.)     A  mandolin  of  large 

96 


MUSIC   DICTIONARY 

Mandolin  (e).  A  pear-shaped  instrument  of  the 
lute  species,  with  four  strings  (generally  doubled.) 
Tuned  like  the  violin.  The  fingering  is  the  same 
as  that  of  violin,  but  the  fingerboard  is  fretted 
like  that  of  guitar.  It  is  played  with  a  pick 
or  plectrum.  While  originating  in  Spain  and 
Italy,  the  mandolin  has  become  popular  every- 
where. The  compass  is  about  three  octaves  ex- 
tending upward  from  "  G  "  below  the  treble  staff. 

Manicra  (It.)  (ma-ne-a-rii.)     Manner,  style. 

Mano  (It.)  (md-no.)     The  hand. 

Mano  destra  (It.)  {md-no  des-tra.)  The  right 
hand. 

Mano  sinistra  (It.)  (wza-no  se-ms-tra.)  The  left 
hand. 

Manual.  The  key-board;  in  organ  music  it  means 
that  the  passage  is  to  be  played  by  the  hands 
alone  without  using  the  pedals. 

Manualiter  (Ger.)  (ma-noo-a-li-ter.)  Organ  pieces 
to  be  played  by  the  fingers  alone  without  the 
pedals. 

Marcando   (It.)    (mar-A:a^i-d5.)  )  Marked;  accented; 

Marcato  (It.)  (mar-A;a-to.)  )     well-pronounced. 

March.  A  military  air  or  movement  especially 
adapted  to  martial  instruments;  it  is  generally 
\\Titten  in  I,  ^  or  f  rhythm. 

Marcia  funebre  (It.)  (mor-tshe-a  foo-na-brg.)  Fu- 
neral march. 

Mai-tellato  (It.)  (mar-tgl-Za-to.)  Hammered, 
strongly  marked. 

Marziale  (It.)  (mar-tse-o-lS.)  Martial;  in  the 
style  of  a  march. 

Mask.  1  A  species  of  musical  drama, 

Maske  (Ger.)  (mas-kS.)  >  or  operetta,  including  sing- 
Masque  (Fr.)  (mask.)  J  ing  and  dancing,  performed 
by  characters  in  masks.  The  masque  was  the 
predecessor  of  the  opera. 

Mass.  A  vocal  composition  performed  during  the 
celebration  of  High  Mass,  in  the  Roman  Cath- 
oHc  Church,  and  generally  accompanied  by  in- 
struments. The  Mass  contains  the  following 
numbers:  "  Kyrie,"  "Gloria"  (containing  also 
the  "Qui  Tollis,"  "Gratias,"  "Quoniam,"  and 
"  Cum  Sancto  Spirito  "),  "  Credo  "  (with  "  Et 
Incarnatus,"  "  Et  Resurrexit,"  and  "  Amen,"  as 
subdivisions),  "  Sanctus,"  "  Benedictus,"  "  Ag- 
nus Dei,"  and  **  Dona  N«bis."  These  are  in 
97 


MtJSIC   DICTIONARY 

beautiful  contrast  in  the  emotions  they  express, 
and  therefore  the  Mass  has  always  been  a  favo- 
rite form  of  composition. 

Massig    (Ger.)    (mas-sig.)     Moderate,   moderately. 

Mazurka  (Ger.)  (ma-^soor-ka.)  A  lively  Polish 
dance  of  a  skipping  character  in  |  or  |  time,  of 
a  peculiar  rhythmic  construction,  quicker  than 
the  Polonaise  or  Polacca. 

Measure.  That  division  of  time  by  which  the  air 
and  movement  of  music  are  regulated;  the 
space  between  two  bar  lines  on  the  staff.  The 
measure  is  often  miscalled  a  bar,  but  the  terms 
should  not  be  confused.     See  Time. 

Mediant  (Lat.)  (ma-di-ant.)  The  third  note  of 
the  scale;  the  middle  note  between  the  tonic  and 
the  dominant. 

Medley.     A  mixture.     A  Potpourri. 

Mehr  (Ger.)  (mar.)     More. 

Melodeon.     See  Reed-organ. 

Melodia  (It.)  (ma-lo-rfe-a.)     Melody,  tune. 

Melodrama.  In  modern  music  the  term  is  ap- 
plied to  a  declamation,  recited  (not  sung)  to  a 
musical  accompaniment.  The  "  Manfred  "  mu- 
sic of  Schumann  is  a  fine  example  with  orches- 
tral accompaniment,  while  Richard  Strauss  has 
made  a  most  effective  modern  setting  or  "  back- 
ground "  (for  piano)  to  Tennyson's  "  Enoch 
Arden."  Reciting  to  music  is  sometimes  called 
Cantillation. 

Melody.  1.  A  succession  of  sounds  so  arranged 
as  to  produce  a  pleasing  effect  upon  the  ear; 
distinguished  from  harmony  where  two  or  more 
tones  are  sounded  simultaneously.  2.  By  the 
melody  the  leading  part  in  a  harmonized  compo- 
sition is  meant. 

Melos  (Gr.)  (ma-los.)  Song.  Melos  is  the  name 
which  Wagner  applies  to  the  vocal  progressions 
of  his  later  operas,  which  have  not  the  form  or 
symmetry  of  regular  tunes. 

Meme  (Fr.)  (mam.)     The  same. 

Meno  (It.)  (ma-no.)     Less. 

Menuet  (Fr.)  (mun-ii-ay.)  }  A  minuet;    a  slow 

Menuetto  (It.)  (m6-noo-^^-to.)  J  dance  in  f  time. 
See  Minuet. 

Messa  (It.)  (mes-sa.)     1 

Messe  (Fr.)  (mass.)       \  A  Mass. 

Messe  (Ger.)  (wes-s6.)  J 

98 


MUSIC  DICTIONARY 

Messa  di  voce  (It.)  The  gradual  swell- 
ing and  diminishing  of  the  vocal  tone 
generally  written  thus:  The  Messa 
di  Voce  requires  thorough  control  of  the  breath. 

Mesto  (It.)   {mes-io.)     Sad,  mournful,  melancholy. 

Mestoso  (It.)  (mes-/o-zo.)     Sadly,  mournfully. 

Mesure  (Fr.)  (muz-ziir.)  The  measure;  strict 
time. 

Meter,  Metre.  Measure;  verse;  arrangement  of 
poetical  feet,  or  of  long  and  short  syllables  in 
verse.  The  succession  of  accents  in  music. 
Meter  is  the  rhythm  of  the  phrase,  not  of  the 
measure. 

Metre,  common.  A  stanza  of  four  lines  in  iambic 
measure,  the  syllables  of  each  bemg  in  number 
and  order  as  follows:  8,  6,  8,  6. 

Metre,  eights  and  sevens.  Consists  of  four  lines 
usually  in  trochaic  measure,  designated  thus, 
8s  and  7s,  the  syllables  as  follows:  8,  7,  8,  7.  A 
few  exceptions  are  found  in  iambic  verse. 

Metre,  hallelujah.  A  stanza  of  six  Hnes  in  iambic 
measure,  the  syllables  of  each  being  in  number 
e.nd  order  as  follows:     6,  6,  6,  6,  8,  8. 

Metre,  long.  Four  lines  in  iambic  measure,  each 
line  containing  eight  syllables. 

Metre,  particular  or  pecuHar.  This  means  that  the 
poem  has  pecuharities  or  irregularities  which 
prevent  its  being  classified.  Such  poems  gen- 
erally require  their  own  especial  tunes. 

Metre,  sevens.  Consists  of  four  lines  in  trochaic 
measure,  each  line  containing  seven  syllables. 

Metre,  sevens,  and  sixes.  Consists  of  four  lines, 
7,  6,  7,  6,  properly  iamb'c,  but  a  few  exceptions 
(trochaic)  are  found. 

Metre,  short.  Consists  of  four  lines  in  iambic 
measure,  the  syllables  in  number  and  order  as 
follows:  6,  6,  8,  6. 

Metronom    (Ger.)    (mSt-ro-now.)  I  A    machine    in- 

Metronome  (Ger.)  (me^-ro-no-mg.)  S  vented  by  John 
Maelzel  (in  1815),  for  measuring  the  time  or 
duration  of  notes  by  means  of  a  gTaduated  scale 
and  pendulum,  which  may  be  shortened  or 
lengthened  at  pleasure.  It  is  a  pendulum  with 
a  movable  counterweight  which  can  be  set  at 
any  designated  figiu-e  and  which  will  then  swing 
to  and  fro  that  number  of  times  per  minute 
an  audible  click  ^^companying  each  oscillation 
99 


MUSIC  DICTIONARY 

When  made  with  a  bell,  the  sound  of  this  ap* 
phance  denotes  the  beginning  of  each  measure. 
The  words  of  tempo  on  the  metronome,  such 
as  Andante,  Largo,  etc.,  are  entirely  misleading; 
the  teacher  must  be  guided  by  the  numerals  only. 
Beethoven  and  Czerny  were  the  first  composers 
to  use  the  metronome. 
Metronomic  marks.  Figures  appended  to  pieces 
of  music,  referring  to  corresponding  figures  on 
a  metronome:  The  "  M,  M."  employed  in  this 
connection  means  "  Maelzel's  Metronome,"  not 
"  Metronome  Mark."  The  following  are  ex- 
amples of  metronome  marks:  1.  M.  M.  J  = 
112.  2.  Tvl.  M.  J.  =  60.  These  would  mean: 
1.  That  the  counterweight  of  the  metronome 
is  to  be  set  at  112,  and  that  each  click  is  to  rep- 
resent the  speed  of  a  quarter-note,  or  in  other 
words,  that  the  speed  is  to  be  at  the  rate  of  112 
quarter-notes  a  minute.  2.  This  signifies  that 
the  metronome  is  to  be  set  at  sixty,  and  each 
chck  is  to  represent  a  dotted  quarter. 

Mezza  voce  (It.)  (mc^tsa  vo-tshS.)     Half  the  power 

of  the  voice;  softly. 
Mezzo  soprano  (It.)  (we^-tso  so-pm-no.)     A  female 

voice    of    lovv-er    pitch    than    the    soprano,  ^  or 

treble,   but  higher  than  the  con- 


i 


Ti 


tralto.     The    general    compass    is 

See  Vaice 
Mi  (It.)  (me.)     A  syllable  used  in  solfa-ing  to  desig 

nate  E,  or  the  third  note  of  the  major  scale. 
Middle  C.     That  C  which  is  between  the  bass  and 

treble  staves.  :cg     i    i 


Militate  (It.)  (me-le-fa-r6.)  Military,  in  a  war- 
like, martial  style. 

Military  band.  An  aggregation  of  performers  on 
wood-wind,  brass,  and  percussion  instruments. 
The  New  York  Twenty-second  Regiment  Band 
is  composed  of  sixty-six  instruments  as  fol- 
lows: 

2  piccolos  1  contra-bassoon 

2  flutes  1  Eb  cornet 

2  oboes  2  1st  Bl?  cornets 

100 


MUSIC   DICTIONARY 

1  Ab  piccolo  clarinet      2  2nd  B\?  cornets 

3  Eb  clarinets  2  trumpets 

8  1st    Bi?  clarinets         2  fliigel horns 

4  2nd    "  "  4  French  horns 
4  3rd     "          "  2  Eb  alto  horns 

1  alto  "  2  B?  tenor  horns 

1  bass  "  2  euphoniums 

1  sopr.  saxophone  3  trombones 

1  alto  '*  5  bombardons  or  tubas 

1  tenor  "  3  drums 

1  bass  "  1  pair  cymbals 

2  bassoons 

The  military  band  is  composed,  therefore,  of 
the  orchestral  wind-instruments  plus  saxophones, 
cornets  and  drums.  The  oboe  is  often  omitted. 
The  clarinets  are  made  very  prominent,  taking 
the  place  of  the  strings,  instruments  of  high 
pitch  are  used,  such  as  the  E  flat  clarinet,  the  A 
flat  clarinet,  the  tierce  flute,  and  others,  that 
would  be  too  shrill  for  orchestral  use.  A  mili- 
tary band  has  sometimes  as  many  performers  as 
a  full  orchestra. 

Military  music.  Music  intended  for  military  bands, 
marches,  quicksteps,  etc. 

Minacciando  (It.)  (me-niit-tshe-a^-do.) 

Minaccievole  (It.)  (me-nat-tshe-e/i-vo-lg.) 

Minaccioso  (It.)  (me-nat-tshe-o-zo.) 
Threatening,  menacing. 

Minim.  A  half-note;  a  note  equal  to  one-half  of 
a  semibreve. 

Minim  rest.     A  half  rest. 

Minnesinger  (Ger.)  (min-n?-sin^-Sr.)  Minstrels 
of  the  twelfth  and  thirteenth  centuries,  who 
wandered  from  place  to  place  singing  a  great 
variety  of  songs  and  melodies.  They  were 
love-singers  (the  word  Minne  meaning  homage 
to  woman)  and  generally  of  high  rank.  Wag- 
ner's opera  Tannhduser  is  founded  upon  the 
epoch  of  the  minnesingers.  The  minnesingers 
were  the  troubadours  of  Germany. 

Minor.  Less;  smaller;  in  speaking  of  intervals, 
etc. 

Minor    scale.     There    are    two    kinia,     Harmonic 

and  Melodic;    in  the  first  variety  the  half-steps 

fall   between   the   second   and    third,    fifth    and 

sixth,  and  seventh  and  eighth  degrees,  both  in 

101 


MUSIC   DICTIONARY 

ascending  and  descending;  in  the  other  the  half- 
step  falls  between  the  second  and  third,  and 
seventh  and  eighth  degrees  ascending,  and  be- 
tween the  sixth  and  fifth,  and  third  and  second, 
descending.  Also  the  scale  form  in  which  the 
majority  of  intervals  reckoned  from  the  key- 
note are  either  minor  or  perfect. 

Minuet.  The  minuet  is  always  in  triple  rhythm, 
and  of  slow  tempo  as  a  dance,  but  it  has  been 
so  freely  treated  by  the  classical  composers  that 
its  tempo  is  very  often  rapid.  Tempo  di  Minuetto 
has  come  to  mean  an  allegretto,  or  even  a  quicker 
speed. 

Minuetto  (It.)  (me-noo-ei-to.)     A  minuet. 

Miserere  (Lat.)  (mee-zay-ra?/-ray.)  Have  mercy; 
a  psalm  of  supplication,  especially  used  during 
Holy  Week. 

Missa  (Lat.)  (mis-sa.)     A  Mass. 

Misterioso  (It.)  (mees-tay-ree-o-zo.)  Mysteriously; 
in  a  mysterious  manner. 

Misurato  (It.)  (mee-soo-ra-to.)  Measured;  in 
strict,  measured  time. 

Mit  (Ger.)  (mit.)     With,  by. 

Mixture  stop.  An  organ-stop  consisting  of  three 
or  more  ranks  of  pipes.  These  are  not  intended 
to  sound  alone.  They  are  voiced  an  octave,  a 
fifth,  a  twelfth,  etc.,  above  the  regular  stops  and 
they  add  the  harmonics  to  the  diapasons.  See 
Acoustics  and  Harmonics. 

Mobile  (It.)  (mo-be-le.)     Movable,  changeable. 

Mode.  A  particular  system  or  constitution  of 
sounds,  by  which  the  octave  is  divided  into 
certain  intervals,  according  to  the  genus.  The 
arrangement  of  notes  in  a  scale,  —  major,  minor, 
etc. 

Mode,  major.  That  in  which  the  third  degree 
from  the  key-note  forms  a  major  interval. 

Mode,  minor.  That  in  which  the  third  degree 
from  the  key-note  forms  a  minor  interval. 

Moderato  (It.)  (mo-day-m-to.)  Moderately;  in 
moderate  time. 

Modes,  church.  The  ancient  modes  called  by 
the  following  names:  Dorian,  Phrygian,  Ly- 
dian,  Mixo-Lydian,  (Eolian,  Ionian,  or  lastian. 
The  Gregorian  tones.  See  Ritter's  "  History  of 
Music,"  William's  "  Story  of  Notation,"  and 
the  "  Oxford  History  of  Music." 
102 


MtrSIC   DICTIONARY 

Modes,  ecclesiastical.  The  ancient  church  modes. 
The  Gregorian  tones. 

Modulation.  A  transition  of  key;  going  from  one 
key  to  another,  by  a  certain  succession  of  chords, 
either  in  a  natural  and  flowing  manner,  or  some- 
times in  a  sudden  and  unexpected  manner.  As 
applied  to  the  voice,  modulation  means  to  ac- 
commodate the  tone  to  a  certain  degree  of  in- 
tensity, or  light  and  shade. 

Modulaiioa,  abrupt.  Sudden  modulation  into  keys 
which  are  not  closely  related  to  the  original  key. 

Modulation,  deceptive.  Any  modulation  by  which 
the  ear  is  deceived  and  led  to  an  unexpected 
harmony. 

Modulation,  enharmonic.  A  modulation  effected 
by  altering  the  notation  of  one  or  more  intervals 
belonging  to  some  characteristic  chord,  and  thus 
changing  the  key  and  the  harmony  into  which 
it  would  naturally  have  resolved. 

Moll  (Ger.)  (m.oll.)     Minor. 

Molto  (It.)  {mol-io.)  Much;  very  much;  ex- 
tremely;  a  great  deal. 

Monody  (Eng.)  {mon-o-dy .)  A  composition  for 
a  single  voice.  The  term  originally  applied  to 
those  solos  which  were  used  in  the  earliest  operas 
and  oratorios,  A.D.  1600  {cvrcaY:,  for  before  that 
time  solos  did  not  exist  in  any  large  work.  Mon- 
ody, was  homophony,  as  opposed  to  counterpoint 
or  polyphony. 

Monodic.     For  one  voice;  a  solo. 

Morbidezza,  con   (It.)   (m6r-be-c?ef-sa.)     Morbidly. 

Morceau  (Fr.)  (m5r-so.)  A  musical  piece,  or  com- 
position. 

Mordent  (It.)  {uioT-drmt.)  A  group  of  two  or  more 
grace  notes  played  rapidly  before  a  principal 
note;  consisting  of  the  principal  note  itself  and 
the  note  above  or  below.  The  sign  ^w  over  the 
principal  note  calls  for  the  upper  auxiliary, 
(Ger.  Pralltriller)  the  same  sign  with  a  vertical 
line  through  it,  ^Mv-  for  the  lower  auxiliary.  Mor- 
dents are  notated  and  executed  as  follows: 


'W     A  'Vlv 


The  accent  comes  on  the  first  note  of  group. 
103 


MUSIC   DieriONAEY 

For  detailed  description  see  Elson's  Music  Dio- 
tioiiary. 

Morendo  (It.)  (mo-ren-do.)  Dying  away;  ex- 
piring; gradually  diminishing  the  tone  and  the 
time. 

Mormorando  (It.)  (mor-mo-ran-do.)  )  -itt-xi  „  „«„4.i« 

Mormoroso  (It.)  (mor-mo-ro-zo.)  ]  ^^  itn  a  gentle, 
murmm"ing  sound. 

Mosso  (It.)  (wos-so.)  Moved,  movement,  motion. 
Meno  mosso,  less  movement,  slower.  Piii  mosso, 
more  movement;   quicker. 

Motet.     /  A    sacred    composition    of    the    anthem 

Motett.  )  style,  for  several  voices.  The  words 
are  taken  from  the  Scriptures.  The  motet  is 
generally  contrapuntal,  and  it  is  possible  that 
the  word  is  derived  from  moto  (motion),  be- 
cause of  the  constant  motion  of  all  the  parts. 

Motif  (Fr.)  {mo-teef.)  A  motive,  or  figure.  The 
term  Leitmotif  (which  see)  was  used  by  Wagner 
for  his  guiding-figures. 

Motion.     The  progression  of  a  melody,  or  part. 

Motive.  The  characteristic  and  predominant  pas- 
sage of  an  air;  the  theme  or  subject  of  a  compo- 
sition;  a  figure. 

Moto  (It.)  (mo-to.)  Motion,  movement;  con 
rndto,  with  motion;  rather  quick. 

Moto  perpetuo  (It.)  (mo-to  pair-pa^-too-oh.)  Per- 
petual motion;  a  study  in  rapidity  of  execution 
and  endurance. 

Mouth-harmonica.  A  set  of  graduated  metal  reeds 
mounted  in  a  narrow  frame,  blown  by  the  mouth, 
and  producing  different  tones  on  expiration  and 
inspiration. 

Mouth-piece.  That  part  of  a  trumpet,  horn,  etc., 
which  is  applied  to  the  lips. 

Mouvement  (Fr.)  (moov-manh.)     )  Motion;    move- 

Movimento  (It.)  (mo-ve-Twen-to.)  S  ment;  impulse; 
the  time  of  a  piece. 

Movement.  The  name  given  to  any  portion  of 
a  composition  comprehended  under  the  same 
general  measure  or  time;  a  composition  consists 
of  as  many  movements  as  there  are  positive  changes 
in  time  and  style. 

Munter  (Ger.)  (moon-t6r.)     Lively,  sprightly. 

Murmelnd  (Ger.)  (moor-m6lnd.)     Murmuring. 

Mus.  Bac.  An  abbreviation  of  Bachelor  of  Music. 
(Little  used.) 

104 


MUSIC   DICTIONARY 

Mus.  Doc.     An  abbreviation  of  Doctor  of  Music. 

Musetta  (It.)    (moo-2:e/-ta.)  \   A  species  of    small 

Musette  (Fi\)  (mii-zet.)  j  bagpipe.  An  air  or 
dance  composed  for  the  musette.  A  primitive 
oboe.  A  composition,  or  movement  in  a  com- 
position, with  a  drone-bass. 

Mutation.  Change,  transition;  the  transformation 
of  the  voice  occm-ring  at  the  age  of  puberty. 

Mutation,  or  filling-up  stops  are  those  which  do  not 
give  a  tone  corresponding  to  the  key  pressed 
down;  such  as  the  quint,  tierce,  twelfth,  etc. 

Mute.  A  small  clamp  of  brass,  ivory,  or  wood, 
sometimes  placed  on  the  bridge  of  a  violin,  viola, 
or  violoncello,  to  diminish  the  tone  of  the  instru- 
ment b}'  damping  or  checking  its  vibrations. 
The  direction  for  using  it  is  Con  sordino,  for  re- 
moving it  Senza  sordino.  In  brass  instruments 
the  mute  is  a  pear-shaped,  leather-covered  pad 
introduced  into  the  bell  of  the  horn,  trumpet  or 
trombone  to  modify  the  tone. 

Muthig  (Ger.)  {r.ioo-tlg.)     Courageous,  spirited. 


N 

Nacaire    (Fr.)    (na-A;ar.)  I  A  brass  drum  with  a  loud 
Nacara  (It.)   (na-A:a-ra.)  )  metallic    tone,    formerly 

much  used  in  France  and  Italy. 
Nachahmung    (Ger.)     (na/c/i-a-moong.)     Imitation. 
Nach  (Ger.)  (nakh.)     After. 

Nachdruck  ((jer.)  (na/v/i-drook.)     Emphasis,  accent. 
Nachdi-iicklich  {Ger.)  (na A: A-drtik-likh.)  I  T7.„-„_^i.- 
Nachdracksvoll(Ger.)(r2a/j/i-di'ooks-fol.)  \  ^^^ergetic, 

emphatic,  forcible. 
Nacht-hom   (Ger.)    {nakht-h.om.)     Night-horn;    an 

organ-stop  of  8-foot  tone,  nearly  identical  with 

the  Quintaton  but  of  larger  scale  and  more  horn- 
like tone. 
Nacht-musik  (Ger.)  (ndkht-moo-zlk.)     Night-music; 

serenade. 
Narrator.    A  name  given  to  the  character  which 

gives   Scriptural   story,    generally   in   recitative, 

in  an  oratorio,  or  Passion-music. 
Natural.     A  character  3,  used  to  contradict  a  sharp, 

or  flal.     See  Flat. 
Natural  horn.     The  old  French  horn,  called  also 

Waldhorn,  without  any  keys. 
105 


MUSIC   DICTIONARY 

Natural  keys.     Those  which  have  no  sharp  or  flat 

at  the  signature,  as  C  major  and  A  minor. 
Neapolitan  sixth.     A  chord  composed  of  a  minor 
third  and  minor  sixth,  and  occurring  on  the  sub- 
dominant,  or  fourth  degree  of  the  scale.     In  the 
key  of  C  (major  or  minor)  this  chord 


is  really  the  same  as  the  first  inver-  p&dr^zzz 
sion  of  the  triad  of  Db.  tu 

Neck.  That  part  of  a  violin,  guitar,  or  similar 
instrument,  extending  from  the  head  to  the  body, 
and  on  which  the  fingerboard  is  fixed. 

Negligente  (It.)  (nal-ye-jen-tS.)  Negligent,  un- 
constrained. 

Negligenza  (It.)  (nal-ye-^en-tsa.)  Negligence,  care- 
lessness. 

Negli  (It.  pi.)  (nal-ye.)  }    j    ..        .  .. 

Nei  (It.  pi.)  (na-e.)      \    ^^  ^^®'  ^*  ^^®- 

Nel  (It.)  (nel.) 

Nella  (It.)  (nel-la.) 

Nelle  (It.  pi.)  (?^eWg.)  \  In  the,  at  the. 

Nello  (It.)  (nel-l6.) 

Nell'  (It.)  (n6l.) 

Netto  (It.)  (net-to.)     Neat,  clear,  quick,  nimble. 

Neu  ((jer.)  (noi.)     New. 

Nicht  (Ger.)  (nikht.)     Not. 

Nineteenth.  An  organ-stop,  tuned  a  nineteentlk 
above  the  diapasons.     See  Larigot. 

Ninth.  An  interval  consisting  of  an  octave  and  a 
second.     Nine  diatonic  intervals. 

Nobile  (It.)  (no-be-16.)     Noble,  grand,  impressive. 

Nobilita,  con  (It.)  (no-be-le-^.  kon.)  With  nobil- 
ity; dignified. 

Noctum.      )    A  composition  of  a  dreamy  and  ro- 

Nocturne.  )  mantic  character  suitable  for  evenmg 
recreation;  also,  apiece  resembling  a  serenade,  to 
be  played  at  night  in  the  open  air. 

Nodal  points.     I    In  music,   the  fixed  points  of  a 

Nodes.  f  sonorous  cord,  or  string,  at  which 

it  divides  itself,  when  it  vibrates,  by  aliquot  pai-ts 
and  produces  the  harmonic  sounds.  See  Har- 
monics. 

Noel  (Fr.)  (n6-6l.)  A  Christmas  carol,  or  hymn. 
The  word  had  its  origin  in  Nouvelles  or  News,  i.e., 
good  tidings. 

Non  (It.)  (n6n.)     Not,  no. 

Non  tropp6  (It.)  (n6n  trop-po.)  Not  too  much; 
moderately. 

106 


'MUSIC   DICTIONARY 

Notation.  The  art  of  representing  tones  by  writ- 
ten or  printed  characters. 

Notehead.  The  head  or  principal  part  of  the  note 
as  distinguished  from  the  stem  and  hook. 

Nottumo  (It.)  (not-^oor-no.)     A  nocturne. 

Novelette.  A  name  bestowed  by  Schumann  (Op. 
21)  on  instrumental  compositions  free  in  form, 
romantic  in  character,  and  characterized  by  a 
variety  of  contrasting  themes. 

Nuances  (Fr.  pi.)  (nii-anhs.)  Lights  and  shades 
of  expression;  variety  of  intonation. 

Nuovo  (It.)  (noo-o-vo.)  New;  di  nudvo,  newly, 
again. 

Nuptial  songs.     Wedding-songs;    marriage-songs. 

Nut.  The  small  bridge  at  the  upper  end  of  the 
fingerboard  of  a  guitar  or  violin,  over  which  the 
strings  pass  to  the  pegs,  or  screws. 


O.  This  letter,  forming  a  circle  or  double  C,  was 
used  by  the  mediaeval  monks  as  the  sign  of 
triple  time  from  the  idea  that  the  ternary,  or 
number  three,  being  the  most  perfect  of  ail  num- 
bers, and  representing  the  Trinity,  would  be 
best  expressed  by  a  circle,  the  most  perfect  of 
all  figures.  The  imperfect,  or  common  time, 
v/as  designated  by  a  C,  or  semicircle  —  a  broken 
circle. 

O,  before  a  consonant  (It.)    (o.)  )    ^  ■.. 

Od,  before  a  vowel  (It.)  (6d.)  ]   ^  '     ' 

The  sign  O  is  placed  over  notes  in  viohn, 
'cello,  etc.,  music  to  indicate  "  open  string,"  or 
as  a  harmonic  mark.  It  is  also  used  in  the 
figuration  of  the  Diminished  Triad  in  Harmony. 

Obbligato  (It.)  (ob-ble-^a-to.)       |  Obligatory,     in- 

Obbligati  (It.  pi.)  (ob-ble-ga-te.)  I  dispensable,  nec- 

Obiige  (Ft.)  (o-blee-zha.)  |  essary;    a   part, 

Obligat  (Ger.)  {6h-li-gdt.)  J  or  parts,  which 

cannot  be  omitted,  being  indispensably  neces- 
sary to  a  proper  performance;  a  temporary  solo 
in  a  concerted  work,  often  misspelled  Ohligato. 

Ober.     (Ger.)  (o-b?r.)     Upper,  higher. 

Ober-manual  (Ger.)  (o-ber  ma-noo-aZ.)  The  upper 
manual. 

Oblique    motion.     When    one    part    ascends,    or 
descends,  whilst  the  others  remain  stationary. 
107 


MT^SIC   DICTIONARY 

Oboe  (Ger.)  (o-bo-6.)    )   The  hautboy;    an  instru- 

Oboe  (It.)  (o-bo-a.)  )  merit  of  great  antiquity, 
consisting  of  a  conical  tube  with  various  sound 
holes  and  keys,  played  with  a  double  reed 
The  tone  is  small  and  nasal,  often  reedy  in  effect 
While  capable  of  expressing  grief  and  pathos 
under  certain  conditions,  it  is  more  often  used  in 
pastoral  scenes  to  suggest  rural  simphcity  and 
gayety.  The  compass  is  from  B?  below  the  treble 
staff  to  E  or  F  above,  with  all  the  chromatic 
intervals.  The  orchestra  is  always  tuned  to  the 
"  a "  sounded  by  the  oboe.  For  detailed  in- 
formation see  A.  Elson's  ''Orchestral  Instru- 
ments "  or  Front's  "  Orchestra."  A  character- 
istic stop  on  the  organ  is  called  Oboe  or  Hautboy. 

Oboe  da  caccia  (It.)  (o-bo-a  da  A:a^tshe-a.)  A 
larger  species  of  oboe  with  the  music  written  in 
the  alto  clef.  Its  place  is  taken,  in  the  modern 
orchestra,  by  the  English  horn. 

Ocarina.  A  sunple  wind  instrument  made  of 
terra-cotta,  in  shape  like  an  elongated  egg, 
sharply  pointed  at  one  end.  There  are  sound 
holes  for  fingers  and  thumbs  and  the  tone  _  is 
produced  through  a  mouthpiece  of  whistle  prin- 
ciple. It  is  limited  to  the  diatonic  scale  and 
comes  in  various  keys  and  sizes.  The  tone  is 
soft  and  veiled. 

Octave.  An  interval  measuring  eight  diatonic 
degrees;  also  the  name  of  an  organ-stop. 

Octave,  Contra.     See  Tablature. 

Octave  coupler.  A  device  used  on  organs  to  add 
the  upper  or  lower  octave  as  may  be  needed  to 
the  notes  actually  played. 

Octave  fifteenth.  An  organ-stop  of  bright,  sharp 
tone,  sounding  an  octave  above  the  fifteenth. 

Octave  flute.     See  piccolo. 

Octave  hautboy.  A  4-foot  organ  reed-stop;  the 
pipes  are  of  the  hautboy  species. 

Octave,  great.     See  Tablature. 

Octave-marks.  The  abbreviation  8va  or  8,  fol- 
lowed by  a  dotted  line,  indicates  that  the  note 
or  notes  over  v/hich  it  is  placed  are  to  be  played 
an  octave  higher  until  the  end  of  the  dotted  line 
or  the  word  loco  is  reached.  When  the  lower 
octave  is  desired  the  dotted  line,  etc.,  is  placed 
under  the  notes,  generally  with  the  addition  of 
words  "  bassa."  Often  the  higher  or  lower  oc- 
108 


MUSIC   DICTIONARY 

tave  is  to  be  played  with  the  printed  note,  in  which 
case  the  term  col  8va  or  col  8  is  used. 

Octet.    \    A  composition  for  eight   parts,    or   for 

Octett.  (    eight  voices. 

Oder  (Ger.)  (o-dSr.)     Or,  or  else. 

CEuvre  (Fr.)  (iivr.)     See  Opus. 

Off.  In  organ  music,  a  direction  to  push  in  a  stop, 
or  coupler;  as  choir  to  Gl.  off. 

Offertory  (Eng.)  (o/-fer-to-ry.)  A  hjinn,  prayer, 
anthem,  or  instrumental  piece  sung  or  played 
during  the  collection  of  the  offering.  It  foUows 
the  Credo  in  the  Mass. 

Ohne  (Ger.)  (o-ne.)     Without. 

One-lined  octave.     See  Tablature. 

Open  diapason.  An  organ-stop,  generally  made  of 
metal,  and  thus  called  because  the  pipes  are 
open  at  the  top.  It  commands  the  whole  scale, 
and  is  the  most  important  stop  of  the  instrument. 

Open  pedal.  The  right-hand  pedal  of  a  pianoforte; 
that  which  raises  the  dampers  and  allows  the 
vibrations  of  the  strings  to  continue. 

Open  string.  The  string  of  a  violin,  etc.,  when 
not  pressed  by  the  finger. 

Open  unison  stop.    The  open  diapason  stop. 

Oper    (Ger.)    (o-pSr.)     )  A  drama  set  to  music,  for 

Opera  (It.)  (o-p6-ra.)  f  voices  and  instruments, 
and  with  scenery,  decorations  and  action.  The 
term  is  also  applied  to  any  work,  or  pubUcation 
of  a  composer.  (See  also  Opus.)  The  chief 
parts  of  the  opera,  apart  from  the  overture, 
are  the  recitative,  aria,  chorus,  and  the  various 
kinds  of  ensemble  —  duet,  trio,  quartet,  quintet, 
sextet,  etc.  —  of  which  the  finale  is  the  most 
important.  In  France  operas  are  classified  as 
follows:  Grand  Opera,  in  which  the  plot  is 
throughout  earnest,  and  there  are  no  spoken 
passages.  Opera  Bouffe,  a  comic  opera,  but 
one  of  a  much  lighter  character  than  an  opera 
comique.  Opera  Comique,  an  opera  with  spoken 
dialogue  as  distinguished  from  the  grand  opera, 
which  has  no  spoken  dialogue.  Opera  Lyrique, 
a  l>Tic  opera.  Consult  A.  Elson's  "  Critical 
History  of  Opera,"  and  Grove's  Dictionary. 
Operetta.    A  little  opera,  generally  in  a  hght  and 

playful  vein. 
Ophicleide   (d/-i-klid.)     A  large  bass  wind  instru- 
ment of  brass,  sometimes  used  in  large  orches- 
109 


MUSIC  DICTIONARY 

tras,   but  chiefly  in  military  music.     It  has  a 
compass  of  three  octaves,  and  the  tone  is  loud 
and  of  deep  pitch.     This  instrument  is  now  prac- 
tically obsolete.     The  bass-tuba  takes  the  place 
of  the  ophicleide  in  almost  all  modern  works, 
but  does  not  reproduce  its  peculiarly  raucous  tone. 
Ophicleide  stop.     The  most  powerful  manual  reed- 
stop  known,  in  an  organ,  of  8  or  4-foot  scale, 
and  is  usually   placed   upon  a  separate  sound- 
board, with  a  great  pressure  of  wind. 
Oppure  (It.)  (op- poo-ray.)     Or;  or  else.     See  ossia. 
Opus  (Lat.)  (o-pas.)    I  Work,  composition;    as,  Op. 
Opus  (Ger.)  (o-poos.)  )  1,  the  first  work,  or  publi- 
cation  of   a   composer.     An   opus   may    include 
several  numbers  or  may  consist  of  a  single  piece. 
Oratorio  (It.)  (6-ra-/o-rI-o.)  1      Ornfnrir.         A 

Oratorium  (Lat.)  (o-ra-Zo-ri-oom.)  Lnecies  of  musical 
Oiatorium  (Ger.).  (o-ra-^o-rl-oom.)  J  ^P®^^^^  ^^  musical 
drama  consisting  of  airs,  recitatives,  trios,  cho- 
ruses, etc.  It  is  founded  upon  some  Scriptural 
narrative,  and  performed  without  the  aid  of 
scenery  and  action.  Consult  Naumann's  ''  His- 
tory of  Music,"  Ritter's  "  Students'  History  of 
Music,"  Dickinson's  "  Music  in  the  Histon,''  of 
the  Western  Church,"  and  Upton's  "  Stand- 
ard Oratorios." 
Orchester  (Ger.)  {or-khes-t^r .)  1  A  body  of  perfor- 
Orchestra  (It.)  (or-/cas-tra.)  \  mers  on  string  in- 
Orchestre  (Fr.)  (6r-k5s-tr.)  |  struments,  or  string 
instruments  in  conjunction  with  various  wood- 
wind, brass  and  percussion  instruments.  Or- 
chestras are  large  or  small  according  to  the 
number  or  variety  of  instruments  employed. 
The  modern  opera  or  symphony  orchestras  con.sist 
oi  from  60  to  116  performers.  The  Boston 
Symphony  orchestra  (1909)  consists  of  98  per- 
formers as  follows: 

30  Viohns  1  Bass  Clarinet 

10  "Violas  3  Bassoons 

10  'Cellos  1  Contra  Bassoon 

8  Basses  8  Horns 

4  Flutes  4  Trumpets 

3  Oboes  3  Trombones 

1  Cor  Anglais  1  Tuba 
3  Clarinets  1  Harp 

2  Tympani,  and  4  other  Percussion. 

110 


MUSIC   DICTIONARY 

Prout's  "The  Orchestra,"  or  A.  Elson's   "Or- 
chestral Instruments  and  their  Use." 

Orchestration.  The  arranging  of  music  for  an  or- 
chestra; scoring;  instrumentation. 

Orchestrion  (6r-fces-trl-6n.)  A  large  mechanical 
instrument  consisting  of  various  organ  pipes, 
reeds,  bells,  etc. 

Organ.  This  term  in  modern  phraseology  ap- 
phes  only  to  the  instrument  known  also  as  the 
"  pipe-organ."  It  is  of  very  ancient  origin, 
and  from  a  crude  instrument  of  less  than  a  dozen 
pipes  in  a  row  like  a  "  Pan's  Pipe  "  it  has  grown 
into  the  massive  instrument  of  to-day,  contain- 
ing thousands  of  open  flue,  stopped  and  reed  pipes 
of  every  conceivable  tone  color,  and  ranging  from 
the  deep  Gi-foot  tone  to  the  highest  harmonic. 
The  pitch  of  these  extreme  tones  is  almost  in- 
distinguishable. The  organ  varies  in  power 
from  a  thunderous  fortississimo  to  a  faint  pianis- 
sissimo  scarcely  audible. 

The  pipes  are  made  to  sound  through  the 
medium  of  compressed  air  supplied,  by  bellows. 
The  organ  is  played  from  a  key-board  like  that 
of  a  piano,  but  called  manual.  The  various 
ranks  or  sets  of  pipes  are  controlled  by  stops 
placed  within  reach.  On  large  modern  organs 
there  are  three  to  five  manuals.  Great,  Choir, 
Swell,  Solo,  Echo,  beside  a  Pedal  key-board 
(played  by  the  feet).  The  organ  is  unquestion- 
ably the  king  of  all  instruments.  Consult 
Stainer's  The  Organ,  Ed.  by  J.  H.  Rogers,  Auds- 
ley's  Art  of  Organ  Building. 

Organ-point.  A  long  pedal  note,  or  stationary 
bass,  upon  which  is  formed  a  series  of  chords, 
or  harmonic  progressions.     Also  a  Cadenza. 

Organum.  (or-gah-num.)  The  Latin  word  for 
organ.  Also  the  term  applied  to  the  first  crude 
attempts  at  harmony  in  ancient  times,  when 
the  chords  were  only  formed  of  fourths  and 
fifths  and  always  moved  in  parallel  motion. 

Ornamental  notes.  All  notes  not  forming  an  ^- 
sential  part  of  the  harmony,  but  introduced  as 
embellishments.  See  Trill,  Turn,  Grace-notes, 
Appoggiat'dra,  Acdaccatura. 

Osseryanza  (It.)  (os-sSr-y'dn-tsa.)    Observation;  at- 
tention; strictness  in  keeping  time. 
Ill 


MUSIC   DICTIONARY 

Ossia  (It.)  (os-se-a.)  Or;  otherwise;  or  else. 
Indicating   another   way   of  playing   a  passage. 

Ostinato  (It.)  {6s-tee-nah-t6.)  Obstinate,  con- 
tinuous, unceasing;  adhering  to  some  pecuhar 
melodial  figure,  or  group  of  notes. 

Ottava  (It.)  (ot-ia-va.)     An  octave;  an  eighth. 

Ottava  ilta  (It.)  (6t-/a-va  a^ta.)  The  octave  above, 
an  octave  higher;  marked  thus,  8va. 

Ottava  bassa  (It.)  (6t-^a-va  6as-sa.)  The  octave 
below,  marked  thus,  8va  bassa. 

Ou  (Fr.)  (oo.)     Or. 

Outer  voices.     The  highest  and  lowest  voices. 

Ouvert  (Fr.)  (oo-vair.y    Open. 

Ouverture  (Fr.)  (oo-vair-^wr.)       ]  An     introductory 

Overtura  (It.)  (o-ver-^oo-ni.)       |  part  to    an    ora- 

Ouvertiire  (Ger.)  (o-fer-foo-re.)  |  torio,  opera,  etc.: 

Overture  (Eng.)  (o-ver-tshur.)  J  also  an  independ- 
ent piece  for  a  full  band  or  orchestra,  in  which 
case  it  is  called  a  concert  overture. 


P.  Abbr.  of  Pedal  (P.  or  Ped.);  piano  (p);  pp, 
jyianissimo;  ppp,  pianissismno ;  Verdi  and  Tschai- 
kowsky  have  emploj^ed  ppppp  several  times. 
P.  F.,  pianoforte;  piu  forte  (louder);  poco  forte 
(rather  loud);  fp,  fortepiano  (i.e.  loud,  instantly 
diminishing  to  soft);  mp,  mezzo-piano  (half- 
soft);  and  in  Fr.  organ-music,  P  stands  for 
Positif  (choir-organ.) 

Pandean  pipes.   /  One    of   the   most    ancient    and 

Pan's  pipes.  )  simple  of  musical  instruments; 
it  was  made  of  reeds  or  tubes  of  different  lengths 
fastened  together  and  tuned  to  each  other,  stopped 
at  the  bottom  and  blown  into  by  the  mouth  at 
the  top. 

Pantomime.  An  entertainment  in  which  not  a 
word  is  spoken  or  sung,  but  the  sentiments  are 
expressed  by  mimicry  and  gesticulation  ac- 
*Jompanied  by  instrumental  music. 

dllel  intervals.  Intervals  passing  in  two  paral- 
lel parts  in  the  same  direction;  consecutive  in- 
tervals. 

Parallel  keys.  The  major  and  minor  founded  on 
same  key  note. 

Parallel  motion.     When  the  parts  continue  on  the 
same  degree,  and  only  repeat  the  same  sounds; 
112 


MUSIC   DICTIONARY      ' 

also,  two  parts  continuing  their  course  and  still 
remaining  at  exactly  the  same  distance  from  each 
other. 

Paraphrase,  A  transcription  or  rearrangement  of 
a  vocal  or  instrumental  composition  for  some 
other  instrument  or  instruments,  with  more  or 
less  brilliant  variations. 

Parlando  (It.)  (par-/a^i-do.)    }   Accented;    in  a  de- 

Parlante  (It.)  (par-/a?i-t6.)  )  clamatory  style;  in 
a  recitative,  or  speaking  style. 

Part.  The  music  for  each  separate  voice  or  in- 
strument. 

Partial  tone.     See  Harmonics. 

Partita  (It.)  (par-iee-ta.)  The  earliest  form  of  the 
instrumental  suite. 

Partition  (Fr.)  (par-te-sl-6nh.)  1  A  score;  a  full  score, 

Partitur  (Ger.)  (par~te-toor.)      >  or   entire   draft   of 

Partittira  (It.)  (par-te-/oo-ra.)  J  a  comj)osition  for 
voices,  or  instruments,  or  both. 

Part-song.  An  unaccompanied  choral  composi- 
tion for  at  least  three  voices  or  parts.  A  melody 
harmonized  by  other  parts  more  or  less  freely, 
but  from  which  counterpoint  is  for  the  most  part 
excluded. 

Pas  (Fr.)  (pah.)     A  step,  or  a  dance  in  a  ballet. 

Passacaglia  (it.)  (pas-sa-A;a/-ye-a.)  A  species  of 
chaconne,  a  slow  dance  with  divisions  on  a 
ground-bass  in  triple  rhythm.  Rather  bom- 
bastic in  character. 

Passage.  Any  phrase,  or  short  portion  of  an  air, 
or  other  composition.  Every  member  of  a 
strain,  or  movement,  is  a  passage. 

Passamezzo  (It.)  (pas-sa->ne^so.)  An  old  slow 
dance,  little  differing  from  the  Pavane,  but  some- 
what more  rapid.     Generally  in  |  rhj^thm. 

Passecaille    (Fr.)    (pass-kah-S.)     See   passacaglia. 

Passepied  (Fr.)  (pass-pi-ay.)  A  sort  of  jig;^  a 
lively  old  French  dance  in  |,  f,  or  f  time;  a  kind 
of  quick  minuet,  with  three  or  more  strains, 
or  reprises.     A  Paspy. 

Passing  notes.  Notes  which  do  not  belong  to 
the  harmony,  but  which  serve  to  connect  those 
which  are  essential. 

Passionatamente  (It.)  (pas-se-o-na- 1 

ta-me/2-tg.)  ^  Passionate;  im- 

Passionato  (It.)  (pas-se-6-na-to.)     J 
passioned;  witla  fervor  and  pathos. 
113 


MUSIC   DICTIONAEY 

Passione  (It.)  (pas-se-o-ng.)     Passion,  feeling. 

Passion  music.  l  Music  picturing  the  sufter- 

Passions-musik  (Ger.)  >  ings  of  the  Saviour,  and 
(pas-sI-o/^s  woo-zlk.)  ]  his  death. 

Pasticcio  (It.)  (pas-^i^tshe-o.)   /  A  medley  made  up 

Pastiche  (Fr.)  (pas-teesh.)  )  of  songs,  etc.,  by 
various  composers;  the  poetry  being  wi'itten  to 
the  music. 

Pastoral.  A  musical  drama,  the  personages  and 
scenery  of  which  are  chiefly  rural.  An  instru- 
mental composition  written  in  the  pastoral 
style. 

Patetica  (It.)  (pa-fa-te-ka.)    )  T>athPt'V 

Patetico  (It.)    (pa-fe-te-ko.)  }  "  atnet.c. 

Pateticamente  (It.)  (pa-ta-te-ka-me/i-te.)  Patheti- 
cally. 

Patimento  (pa-te-men-to.)  Affliction,  grief,  suf- 
fering. 

Pauken  (Ger.  pi.)  (pou-k'n.)  Kettledrums;  also,  to 
thump. 

Pausa  (It.)  (pa-oo-za.)     A  pause. 

Pause  (Ger.)  (pow-z6.)     A  rest. 

Pause  (Eng.)     See  Hold,  Fermata. 

Pavan  (Eng.)  1  A  grave,  stately  dance, 

Pavana   (It.)    (pa-ya-nii.)  \  which    took    its    name 

Pavane  (Fr.)  {^'Su-vanh.)  J  from  pavano,  a  peacock. 
It  is  in  quadruple  rhythm. 

Paventato  (It.)   (pa-ven-id-to.)  )  Fearful;  timorous; 

Paventoso  (It.)  (pii-ven-^o-zo.)  )  with  anxiety  and 
embarrassment. 

Pavilion  chinois  (Fr.)  (pa-ve-yonh  she-noo-wa.) 
An  instrument  with  numerous  little  bells.      ^"^ 

Peal.  A  set  of  bells  tuned  to  each  other;  the 
changes  rung  upon  a  set  of  bells. 

Pedal.  This  word  is  used  in  many  different  ways 
in  music,  but  always  has  reference  to  some 
mechanism  moved  by  the  foot.  The  most  gen- 
eral usage  of  the  word  applies  to  the  piano  pedals. 
The  object  of  the  right-hand  piano  pedal  is  to 
raise  the  dampers  from  the  wires,  so  that  the 
sound  may  be  prolonged  after  the  finger  of  the 
player  has  left  the  key.  On  the  organ  Pedal 
refers  to  the  keyboard  played  with  the  feet, 
also  the  swell  and  various  combination  stops  and 
couplers  actuated  by  the  feet.  Some  pianos  are 
fitted  with  pedal  keyboard;  others  with  extra  ped- 
als for  mandolin  and  other  imitative  effectSc 
114 


MUSIC   DICTIONARY 

Pedals  are  also  certain  low  foundation  notes  on 
trombone,  horn,  etc.  On  the  harp  the  pedals 
raise  the  notes  in  pitch  by  semi-tones.  See 
Elson's  Music  Dictionary  or  Mathews'  School 
of  the  Piano  Pedal. 

Pedal  point.  A  sustained  bass,  or  pedal  note, 
held  on  or  sustained  for  several  measures,  while 
a  variety  of  chords  are  introduced. 

Pentatonic  scale.  A  scale  of  five  notes,  the  fourth 
and  seventh  degrees  being  omitted. 

Per  (It.)  (pair.)     For,  by,  from,  in,  through. 

Percussion    (Eng.)     (p6r-A;ws/i-6n.)        {  A     general 

Percussione  (It.)  (par-koos-se-o-nS.)  i  name  for 
all  instruments  that  are  struck,  as  a  gong,  drum, 
bell,  cymbals,  triangle,  tambourine. 

Perdendosi  (It.)  (par-den-do-ze.)  Gradually  de- 
creasing the  tone  and  the  time;  dying  away, 
becoming  extinct. 

Perfect.  A  term  applied  to  certain  intervals  and 
chords.     See  Intervals. 

Perfect  cadence.     See  Cadence. 

Period  (Eng.)  A  complete  and  perfect  musical 
sentence,  containing  at  least  two  phrases  and 
bringing  the  ear  to  a  perfect  conclusion  or  state 
of  rest. 

Pesante  (It.)  (pS-2an-t6.)  Heavy,  ponderous;  with 
importance  and  weight,  impressively. 

Petit' (Fr.)  (pg-/e.)     Little,  small. 

Peu  (Fr.)  (piih.)     Little,  a  httle. 

Pezzo  (It.)  (pet-so.)     A  detached  piece  of  music. 

Phantasie  (Ger.)  (fan-ta-2e.)     See  Fantasia. 

Phonetic     Vocal,  representing  sounds. 

Phonograph.  An  instrument  invented  in  1877, 
by  Thomas  A.  Edison,  by  means  of  which  sounds 
either  vocal  or  instrumental,  the  tones  of  the 
speaking  voice,  and  even  noises,  can  be  re- 
corded and  reproduced. 

Phrase.  The  phrase  in  music  may  be  regarded 
as  a  dependent  division,  like  a  single  line  in  a 
poem.  In  simple  music  the  phrases  balance  each 
other. 

Phrasing.  Dividing  the  musical  sentences  mto 
rhj-thmical  sections.     The  punctuation  of  music. 

Piacere  (It.)  (pe-a-tshai-v(i.)  Pleasure,  inclination, 
fancy;   a  piacere,  at  pleasure. 

Place  vole  (It.)  (pe-a-te/ie-vo-l6.)  Pleasing,  grace- 
ful, agreeable. 

115 


MUSIC   DICTIONARY 

Piagnevole  (It.)  (pe-an-^/e-vo-lS.)  Mournful,  dole- 
ful, lamentable. 

Piangendo  (It.)  (pe-an-jen-do.)  Plaintively,  sor- 
rowfully, weeping. 

Pianissimo  (It.)  (pe-an-is-se-mo.)     Extremely  soft. 

Piano  (It.)  (pee-<2-no.)     Soft. 

Pianoforte  or  Piano.  The  piano  comes  from  the 
combination  of  the  two  instruments  of  antiquity, 
the  Dulcimer,  and  the  Monochord.  The  immedi- 
ate predecessors  of  the  piano  were  the  Clavichord, 
the  Harpsichord,  and  the  Spinet  (see  these  words). 
The  principle  of  striking  the  wires  of  the  instru- 
ment with  hammers  was  invented  by  Cristofori, 
a  native  of  Padua,  Italy,  about  1710.  Great 
improvements  were  made  in  the  piano  in  Ger- 
many, Silbermann  manufacturing  very  sweet- 
toned  instruments,  and  Stein  inventing  the  soft 
pedal.  But  the  best  pianos  at  the  beginning 
of  the  nineteenth  century  were  made  in  England, 
where  an  Alsatian,  named  Erhardt,  afterwards 
changed  into  Erard,  and  a  Scotchman,  named 
Broadwood,  made  many  improvements  in  the 
instrument,  the  latter  inventing  the  damper-pedal. 
Elson's  '*  History  of  Music  in  America." 

Piatti  (It.  pi.)  (pe-dt-te.)     Cymbals. 

Pibroch  (pe-brQk.)  Music  peculiar  to  Scotland 
performed  on  the  bagpipe, 

Picchiettato  (pe-ke-6t-/a-to.)  Scattered,  detached; 
in  violin-playing,  it  means  that  sort  of  stac- 
cato indicated  by  dots  under  a  slur. 

Piccolo  (It.)  (pe-ko-lo.)     Small;  little. 

Piccolo.  A  2-foot  organ-stop,  of  wood  pipes  pro- 
ducing a  bright  and  clear  tone  in  unison  with 
the  fifteenth. 

Piccolo.     A  small  flute.     See  Flute. 

Picchettato  (It.)  (pe-ket-M-to.)     See  Picchiettdto. 

Plena  (It.)  (pe-a-na.)    i  ^^^.^ 

Pieno  (It.)  (pe-a-no.)    (^^^* 

Pieta  (It.)  (pe-a-ta.)     Pity. 

Pietosamente  (It.)  (pe-a-t5-za-men-tS.)   )    o^r^r^oo 

Pietoso  (It.)  (pe-a-to-zo.)  S    ^^^^^P^" 

sionately;  tenierly;  pitifulh. 

Pince  (Fr.)  (pdnh-ss.y.)     Pinched.     See  Pizzicdto. 

Pipe.  Any  tube  formed  of  a  reed,  or  of  metal,  or 
of  wood,  which,  being  blown  at  one  end,  pro- 
duces a  musical  sound.  (See  Horn,  Stop,  and 
Organ.)  Organ-pipes  divide  into  two  classes 
116 


MUSIC   DICTIONARY 

the  reed  and  the  flue-pipe.  The  reed-pipe  has 
its  column  of  air  set  in  vibration  by  means  of 
a  reed  which  is  set  in  a  box  or  reservoir.  The 
flue-pipe  is  caused  to  sound  by  directing  the  wind 
against  a  thin  edge  in  the  mouth  of  the  pipe,  only 
a  shght  portion  of  the  current  of  air  entering  the 
pipe,  but  this  causes  the  column  of  air  within  to 
vibrate.  Flue-pipes  may  be  stopped  or  open. 
For  description  of  the  method  of  vibration  of 
various  kinds  of  pipes,  see  Blaserna's  "  Sound  and 
Music,"  Zahm's  "  Sound  and  Music,"  and  Pole's 
"Philosophy  of  Music." 

Pitch.  The  acuteness  or  gravity  of  any  particu- 
lar sound,  or  of  the  tuning  of  any  instrument. 
Pitch  can  most  scientifically  be  defined  as  the 
rate  of  vibration.  Rapid  vibrations  mean  a 
high  tone,  slow  vibrations  a  deep  one.  The 
standard  of  pitch  has  always  been  a  variable 
one,  thus  the  note  A,  r-  &  ■  i  ■-[  which  in  Paris 
at  present  has  435  ::to  9  vibrations  in 
1858  was   given  448,  ^T  and  in  1699  had 

only  404,  while  Handel's  tuning-fork  dated  1740 
gives  the  same  note  416  vibrations. 

In  1859  France  adopted  a  pitch  of  435  vibra- 
tions per  second  for  A  (treble  staff.)  In  1891 
the  United  States  concurred  in  this  pitch  which 
is  now  called  International  Pitch.  Germany 
uses  a  pitch  slightly  higher.  Concert  Pitch  was 
indefinite,  but  generally  higher  than  common 
pitch  for  the  sake  of  brilliancy. 

Pia  (It.)  (pe-oo.)     More. 

Pid  mosso  (It.)   (pee-oo  mos-so.)   )    More    motion, 

Piii  moto  (It.)  {pee-oo  mo-to.)         )       quicker. 

Pizzicato  (It.)  (pit-se-/ca-to.)  Pinched;  meaning 
that  the  strings  of  the  violin,  violoncello,  etc., 
are  not  to  be  played  with  the  bow,  but  pinched, 
or  snapped  with  the  fingers,  producing  a  staccato 
effect. 

Placido  (It.)  (pZa-tshee-do.)     Placid,  tranquil,  calm. 

Plagal  cadence.  A  cadence  in  which  the  final 
chord  on  the  tonic  is  preceded  by  the  harmony 
of  the  sub-dominant.     See  Cadence. 

Plagal  mode.  A  church  mode  or  scale  in  which 
the  final  or  keynote  was  the  fourth  ton^  up- 
ward. 

Plain  chant.     The  plain-song.     See  Cdnto  Fermo. 

Plain-song.    The  name  given  to  the  old  ecclesias=> 
117 


MUSIC   DICTIONAKY 

tical  chant  when  in  its  most  simple  state  and 
without  harmony.  See  Stainer  &  Barrett, 
Dickinson's  "  Music  in  the  History  of  the  West- 
ern Chui'ch,"  or  Helmore's  ''  Plain-Song." 

Plectnim  (Lat.)  (plek-triim.)  A  quill,  or  piece  of 
ivory  or  hard  wood  used  to  twitch  the  strings  of 
the  mandolin,  zither,  etc.     (It.)  Penna. 

Plein  jeu  (Fr.)  (planh  zhti.)  Full  organ;  the  term 
is  also  applied  to  a  mixture-stop  of  several  ranks 
of  pipes. 

Plus  (Fr.)  (plu.)     More. 

Pochettino  (It.)  (po-ket-ie-no.)  )  xr  _,  ,., .,     „i^„„^ 

Pochette  (It.)  iptket-to.)  \  ^^^  ^^^^^'  «^°^^-- 

Poco  (It.)  (po-ko.)     Little. 

Poco  a  poco  (It.)  (po-ko  a  po-ko.)  By  degrees, 
little  by  little. 

Pol  (It.)  (po-e.)  Then,  after,  afterwards;  piano  p&i 
forte  J  soft,  then  loud. 

Pol  a  poi  (It.)  (po-e  a  po-e.)     By  degrees. 

Poi  a  poi  tutte  le  corde  (It.)  {po-e  a  po-e  ioo-t6  IS 
fcor-dg.)  Lift  the  soft  pedal  gradually.  See 
Pedal. 

Point  (Fr.)  (pwanh.)     A  dot. 

Polacca  (It.)  (po-^A;-ka.)  A  Polish  national  dance 
in  I  time.     See  Polonaise. 

Polka.     A  lively  Bohemian  dance  in  f  time. 

Polka  mazurka  (poZ-ka  ma-2wr-ka.)  A  dance  in 
triple  time,  played  slow,  and  having  its  accent 
on  the  last  part  of  the  measure. 

Polka  redowa  (poZ-ka  red-b-'o..)  A  dance  tune  in 
triple  time,  played  faster  than  the  polka  ma- 
zurka, and  having  its  accent  on  the  first  part  of 
the  measure. 

Polonaise  (Fr.)  (pol-o-na^.)  A  Polish  dance  writ- 
ten in  f  rhythm,  and  containing  every  contrast 
possible.  The  melody  contains  runs,  skips, 
and  many  artificial  groupings,  and  syncopation 
occurs  freely  both  in  the  melody  and  the  ac- 
companiment. 

Polyphonic.  Polyphonic  music  is  many  voiced  or 
plural-voiced  music,  and  is,  where  the  music  is 
formed  of  two  or  more  different  melodies  going 
on  simultaneously.     Counterpoint. 

Pomposo  (It.)  (p6m-po-zo.)  Pompous,  stately, 
grand. 

Ponderoso  (It.)  (p6n-dS-ro-zo.)  Ponderously,  mas- 
sively, heavily. 

118 


MUSIC   DICTIONARY 

Ponticello  (It.)  {p6n-te-tshel-\6.)  The  bridge  of 
a  violin,  guitar,  etc.  The  direction  to  bow  near 
the  bridge  is  sul  'ponticello,  and  the  result  is  a 
thin,  squeaky,  but  incisive  tone. 

Portamento  (It.)  (por-ta-merj-to.)  From  portare, 
to  carry.  Indicates  a  carrying  or  ghding  of  the 
tone  from  one  note  to  the  next,  but  so  rapidly 
that  the  intermediate  notes  ai*e  not  defined, 
as  would  be  the  case  in  a  Legato  passage  between 
two  principal  notes.  The  expression  occurs 
generally  in  vocal  music,  but  may  be  found  in 
instrumental  music 

Portunal-flaut  (Ger.)  (por-too-ndl.)  An  organ-stop 
of  the  clarabella  species,  the  pipes  of  which 
are  larger  at  the  top  than  at  the  bottom  and 
produce  a  tone  of  clarionet  quality. 

Posaune  (Ger.)  {pd-zou~ae.)  A  trombone;  also, 
an  organ-stop.     See  Trombone. 

Positif  (Fr.)  (p5-ze-^e/.)      /  The  choir-organ,  or  low- 

Positiv  (Ger.)  (po-zHi/)  (  est  row  of  keys  with 
soft-toned  stops  in  a  large  organ. 

Position.  1.  The  point  or  place  taken  by  the  left- 
hand  on  fingerboard  of  any  string  instrument. 
2.  The  disposition  as  to  distance  of  the  several 
notes  of  a  chord;  close  or  open  position,  3.  The 
point  or  place  taken  by  the  slide  in  Trombone 
playing. 

Possibile  (It.)  (p6s-si-be-15.)  Possible;  il  piii 
forte  possibile,  as  loud  as  possible. 

Postlude    (Lat.)    (posMude.)  I    ai-+ 

Postludium  (Lat.)  (post-m-di-iim.)  (  Alter-piece, 
concluding  voluntary. 

Pot-pourri  (po-poor-re.)  A  medley;  a  capricdo,  or 
fantasia  in  which  favorite  au-s  and  fragments  of 
musical  pieces  are  strung  together  and  con- 
trasted. 

Pour  (Fr.)  (poor.)     For. 

Prall-triller  (Ger.)  (pral-tril-l&v.)     See  Mordent. 

Precentor.  The  appellation  given  to  the  master 
of  the  choir. 

Precipitato  (It.)  (pray-tshe-pe-ia-to.)  In  a  pre- 
cipitate manner;   hurriedly. 

Precipitando  (It.)  (pray-tshe-pe-<a/?-do.)     HuiTying. 

Precipitoso  (It.)  (pray-tshe-pe-<o-zo.)  Hurrying, 
precipitous. 

Precisioae  (It.)  (pray-tshe-ze-o-ng.)  Precision,  ex- 
actness. 

119 


MUSIC   DICTIONARY 

Precise  (It.)  {pvay-tshe-zd.)  Precise,  exact,  ex- 
actly. 

Prelude.  A  short  introductory  composition,  op 
extempore  performance,  to  prepare  the  ear  for 
the  succeeding  movements.  The  word  prelude 
has  been  applied  to  compositions  of  a  free  and 
improvised  character.  In  opera  the  distinction 
between  prelude  (or  vorspiel)  and  overture  lies 
in  the  fact  that  the  overture  is  an  independent 
piece  while  the  vorspiel  leads  directly  into  the 
opera. 

Preparation.  That  disposition  of  the  haraiony  by 
which  discords  are  lawfully  introduced.  A  dis- 
cord is  said  to  be  prepared,  when  the  discordant 
note  is  heard  in  the  preceding  chord,  and  in  the 
same  part  as  a  consonance. 

Prestissimo  (It.)  (pres-iis-se-mo.)  Very  quickly; 
as  fast  as  possible. 

Presto  (It.)  (pres-to.)     Quickly,  rapidly. 

Prima  (It.)  (pree-ma.)  First,  chief,  principal.  See 
Primo. 

Prima  donna  (It.)  (pree-ma  don-na.)  Principal 
female  singer  in  a  serious  opera. 

Primary  chord.  The  common  chord;  the  first 
chord. 

Prima  volta  (It.)  (pree-ma  voZ-ta.)     The  first  time. 

Prime.  First  note,  or  tone  of  a  scale.  Or  the  in« 
terval  where  two  voices  are  on  the  same  degree 
of  the  staff,  a  unison. 

Prime  (It.)  {pree-m.0.)     Principal,  first. 

Principal,  or  octave.  An  important  organ-stop, 
tuned  an  octave  above  the  diapasons,  and  there- 
fore of  4-foot  pitch  on  the  manual,  and  8-foot  on 
the  pedals.  In  German  organs  the  term  prin- 
cl^oI  is  also  applied  to  all  the  open  diapasons. 

Principal  bass.  An  organ-stop  of  the  open  dia- 
pason species  on  the  pedals. 

Program-music.  Instrumental  music  which  either 
by  its  title,  or  by  description  printed  upon  the 
composition,  gives  a  definite  picture  of  events  or 
objects.  Beethoven  was  really  the  founder  of 
the  school  with  his  '*  Pastoral  Symphony." 
Berlioz  in  his  "  Symphonic  Fantastique "  and 
"  Childe  Harold "  and  Richard  Strauss  in  hia 
"  Heldenleben  "  have  given  the  largest  examples 
of  program  music.  See  Hadow's  •'*  Studies  in 
Modern  Music,"  Weingartner's  "  Symphony 
120 


MUSIC   DICTIONARY 

since  Beethoven,"  and  Hanslick's  "  Beautiful  in 
Music." 

Progression.  Melodic  progression  is  the  advance 
from  one  tone  to  another.  Harmonic  progres- 
sion is  the  advance  from  chord  to  chord. 

Pronunziato  (It.)  (pro-noon-tse-a-to.)     Pronounced. 

Proposta  (It.)  (pro-pos-ta.)  Subject,  or  theme  of  a 
fugue. 

Psaim.     A  sacred  song  or  hymn. 

Psaltery  (Eng.)  A  stringed  instrument  much  used 
by  the  Hebrews  in  ancient  times,  supposed  to 
be  a  species  of  lyre,  harp  or  dulcimer. 

Punta  (It.)  ipoon-tsi.)  The  point,  the  top;  also 
a  thrust,  or  push. 

Pyramidon  (Gr.)  (pl-ram-l-d6n.)  An  organ-stop 
of  16-  or  32-foot  tone,  on  the  pedals,  invented 
by  the  Rev.  F.  A.  G.  Ouseley.  The  pipes  are 
four  times  larger  at  the  top  than  at  the  mouth, 
and  the  tone  of  remarkable  gravity,  resembling 
that  of  a  stopped  pipe  in  quahty. 


Quadrat  (Ger.)  (quad-ra^.)  The  mark  called  a 
natural,  fl.     See  Flat. 

Quadrille  (Fr.)  (ka-dreZ.)  A  French  dance,  or  set 
of  five  consecutive  dance  movements.  Gen- 
erally in  I  or  f  rhythm. 

Quadruple  counterpoint.  Counterpoint  in  four 
parts,  all  of  which  may  be  inverted. 

Quartet  (Eng.)  (quar-tet.)         ]  A   composition   for 

Quart ett  (Ger.)  {quar-tett.)        >  four   voices   or   in- 

Quartetto  (It.)  (quar-^e^-to.)  J  struments,  or  the 
group  of  players  or  singers. 

Quasi  (It.)  (qud-zi.)  In  the  manner  of,  in  the 
style  of,  or  somewhat. 

Quickstep.     A  lively  march,  generally  in  f  time. 

Quieto  (It.)  (que-a-t5.)     Quiet,  calm,  serene. 

Quint   (Lat.)    (quint.)      )  A  fifth;  also  the  name  of 

Qumta  (It.)  (quin-ts..)  )  an  organ-stop  sounding  a 
fifth  (or  twelfth)  above  the  foundation  stops. 

Quintadena.     An  organ-stop.     See  Quintaton. 

Quintaton  (Ger.)  (quin-tsL-ton.)  A  manual  organ- 
stop  of  eight-foot  tone;  a  stopped  diapason  of 
rather  small  scale  producing  the  twelfth,  as  well 
as  the  ground  tone;  it  also  occurs  as  a  pedal-stop 
of  thirty-two  and  sixteen-foot  tone. 
121 


MUSIC   DICTIONARY 

Quintet.  A  composition  for  five  voices  or  instru- 
ments. 

Qui  tollis  (Lat.)  (que  tol-lis.)  A  part  of  the  Gloria 
in  the  Mass. 

Quoniam  tu  solus  (Lat.)  (qud-ni-SLUi  tu  so-ltis.) 
Part  of  the  Gloria  in  the  Mass. 


R  for  right  (Ger.  rechte);  r.  h.  =  right  hand 
(Rechte  Hand);  for  ripieno;  stands  in  Cathohc 
church  music  for  Responsorium,  R  in  French 
organ-music,  stands  for  clavier  de  recit  (swell 
manual). 

Rabbia  (It.)  (rdb-he-a..)     Rage,  fury,  madness. 

Raddolcendo     (It.)     (rad-doI-^s/ie?z-do.)  (  tt7--i      • 

Raddolcente  (It.)  (r&d-doUshcn-te.)  P^^^^  ^^' 
creasing  softness;  becoming  softer  by  degrees; 
gentler  and  calmer. 

Rallentando  (It.)  (ral-len-^cm-d5.)  The  time  gradu- 
ally slower. 

Rapidamente  (It.)  (ra-pe-da-ms?i-te.)     Rapidly. 

Rasch  (Ger.)  (rash.)     Swift,  spirited. 

Rattenuto  (It.)  (rat-tS-noo-to.)  Holding  back;  re- 
straining the  Ame. 

Re  (ra.)  A  S3^11able  applied  in  solfaing  to  the 
note  D.     In  France  and  Italy  D  is  called  Re. 

Rebec.       )  An  old  Moorish  instrument  somewhat 

Rebecca.  )  like  a  mandolin,  with  two  strings, 
played  on  with  a  bow. 

Recessional.  The  hymn  sung  at  close  of  service  in 
church  as  choir  and  clergy  retire. 

Recht  (Ger.)  (rgkht.)     Right. 

Recitative  (r6-sl-ta-^eey.)  A  species  of  musical 
declamation.  There  are  two  chief  kinds  of  reci- 
tative, the  free  (secco)  and  the  measured  (mi- 
surato  or  stromentaio) . 

Redowa  (red-o-wa.)  A  Bohemian  dance  in  |  and 
I  time  alternately. 

Reed.  Primarily  reeds  are  thin  strips  of  reed, 
wood,  or  metal  which,  when  set  in  vibration  by 
a  current  of  air,  produce  a  musical  sound.  Reeds 
are  classified  as  Free  and  Beating,  the  latter 
being  sub-divided  into  Single  and  Double.  The 
Free  reed  is  used  in  instruments  of  concertina 
class  and  in  reed  organs,  the  length  and  thick- 
122 


MUSIC   DICTIONARY 

ness  of  the  vibrating  tongue  itself  giving  the 
pitch.  Beating  reeds  set  an  enclosed  column  of 
air  in  vibration,  the  length  of  the  confining 
chamber  giving  the  pitch.  The  Single  beating 
reed  is  used  on  the  clarinet,  saxophone  and  large 
church  organ  (in  reed  pipes),  and  the  Double 
beating  reed  is  used  on  oboe,  bassoon  and  sar- 
rusophone. 

Reed  fifth.      I  A  stopped-quint  register  in  an  organ, 

Reed  nasat.  f  the  stopper  of  which  has  a  hole  or 
tube  in  it. 

Reed  stops.  Those  stops  in  an  organ,  the  pecuUar 
tone  of  v/hich  is  produced  by  the  wind  having  to 
pass  against  a  reed  placed  at  the  bottom  of  the 
pipe  and  putting  the  tongue  into  vibration. 

Reel.  A  lively  Scotch  and  Irish  dance.  Origi- 
nally the  term  Rhay,  or  Reel,  was  applied  to  a 
very  ancient  English  dance,  called  the  Hay. 
The  reel  is  usually  in  f  or  f  time. 

Refrain.  The  burden  of  a  song;  a  ritornel;  a 
repeat.     See  Burden. 

Register.  The  stops,  or  rows  of  pipes  in  an  organ; 
also  applied  to  the  high,  low  or  middle  parts,  or 
divisions  of  the  voice;  also  the  compass  of  a 
voice,  or  instrument. 

Registering.     /  The  proper  management  of  the  stops 

Registration.   )      in  an  organ. 

Related.  A  term  applied  to  those  chords,  modes 
or  keys,  which,  by  reason  of  their  affinity  and 
close  relation  of  some  of  their  component  sounds, 
admit  of  an  easy  and  natural  transition  from 
one  to  the  other. 

^tM-IS^f.^')"-'  ^''""'   I  Religiously;  solemnly; 

Remote  keys.  Those  keys  whose  scales  have  few 
tones  in  common,  as  the  key  of  C  and  the  key  of 

D[7. 

Repeat.  A  character  indicating  that  certain 
measures  or  passages  are  to  be  sung,  or  played 
twice.     Written: 


E|^^|]rE    or     ^1^    or     |^= 


See  also  Da  Capo  and  Dal  Segno, 
123 


MUSIC  DICTIONARY 

Repercussion.  A  frequent  repetition  of  the  same 
sound.  The  regular  reentrance,  in  a  fugue,  of  the 
subject  and  answer  after  the  episodes  immediately 
following  the  exposition. 

Replicazione  (It.)  (re-ple-ka-tse-o-ng.)     Repetition. 

Reprise  (Fr.)  (ruh-preez.)     The  burden  of  a  song. 

Requiem  (Lat.)  (ra-kwee-em.)  A  Mass,  or  musical 
service  for  the  dead.  Its  divisions  are  as  fol- 
lows: (1)  Requiem,  Kyrie;  (2)  Dies  irse,  Re- 
quiem; (3)  Domine  Jesu  Christe;  (4)  Sanctus, 
Benedictus;   (5)   Agnus  Dei,  Lux  seterna. 

Resolution.  Resolving  a  discord  icto  a  concord 
according  to  the  rules  of  harmony. 

Response.  Response,  or  answer  of  the  choir.  In 
a  fugue  the  response  is  the  repetition  of  the  given 
subject  by  another  part. 

Rest.  A  character  indicating  silence.  The  follow- 
ing are  the  signs  and  names  of  the  various  rests; 


■— ■    Whole  rest. 

q 

16th-rest. 

.^    Half-rest. 

^ 

32nd-rest. 

^    or  _i     Quarter-rest. 

64th-rest. 

1       Eighth-rest. 

Retardation.  1.  Slackening,  or  retarding  the  time. 
2.  Delayed  ascent  of  a  harmonic  voice,  the  re- 
verse of  suspension. 

Reveille  (Fr.)  (ray-va-yS.)  Awakening,  a  military 
morning-signal. 

Reverse  motion.  Imitation  by  contrary  motion, 
in  which  the  ascending  intervals  are  changed  into 
descending,  and  vice  versa. 

Rhapsody  (Eng.)  (rap-so-dy.)  A  free,  ecstatic  com- 
position. 

Rhythm  (Eng.)  (rithm.)  The  division  of  musical 
ideas  or  sentences  into  regular  metrical  portions; 
musical  accent  and  cadence  as  applied  to  melody. 
Rhythm  represents  the  regular  pulsation  of 
music. 

Ribs.     The  sides  of  a  violin,  etc. 

Rigaudon  (Fr.)  (ree-go-don.)  A  lively  French 
dance  in  |,  sometimes  in  |  time. 

Rigore   (It.)    (ree-go-r^.)     Rigor,  strictness;    al  ri- 
gdre  di  tempo,  with  strictness  as  to  time. 
124 


MUSIC   DICTIONARY 

Rigoroso  (It.)  (ree-go-ro-zo.)  Rigorous,  exact, 
strict. 

Rinfoi-zando  (It.)    (rin-f6r-<sa?i-do.)  ]   Strengthened; 

Rinforzare   (It.)    (rm-f6r-^sa-rg.)       I    >pinf„pf,pj.    „ 

Rinforzato  (It.)   (rin-for-^sa-to.)        f   reiniorcea,    a 

Rinforzo  (It.)  (rin-/dr-tso.)  J    reinforcement 

of  tone,  or  expression;  indicating  that  either  a 
single  note  or  chord,  or  several  notes,  are  to  be 
played  with  emphasis,  although  not  with  the 
suddenness  of  a  sforzando. 

Ripetizione  (It.)  (ree-pS-te-tse-o-nS.)  Repeti- 
tion. 

Ripieni  (It.  pi.)  (ree-pe-a-ne.)  "\  The    tuiti,     or    full 

Ripieno  (It.)  (ree-pe-a-no.)  1  parts  which  fill  up 
and  augment  the  effect  of  the  chorus  of  voices 
and  instruments.  The  mass  of  instruments  as 
against  the  solo  or  principal  instrument  in  each 
group. 

Risoluto  (It.)  (ree-zo4oo-to.)  Resolved,  resolute, 
bold. 

Risonare  (It.)  (ree-zo-rja-rg.)  To  resound;  to  ring, 
or  echo. 

Risvegliato  (It.)  (rees-val-ye-a-to.)  Awakened,  re- 
animated. 

Ritardando  (It.)  (ree-tar-c?aM-do.)  Retarding;  de- 
laying the  time  gi-adually. 

Ritenuto  (It.)  (ree-te-/?oo-to.)  Detained;  slower; 
kept  back. 

Ritmo  (It.)  (reef-mo.)     Rhythm,  cadence,  measure. 

Ritomello    (It.)    (ree-t5r-ncZ-lo.)    J  The  burden  of  a 

Ritournelle  (Fr.)  (ree-toor-nel.)  )  song;  also,  a 
short  prelude  or  introduction  to  an  air;  and  the 
postlude  which  follows  an  air;  it  is  also  applied 
to  tutti  parts,  introductory  to,  and  between,  or 
after,  the  solo  passages  in  a  concerto. 

Rohr-flote  (Ger.)  (ror-j?o-t6.)  Reed-fiute;  a  stopped 
diapason  in  an  organ. 

Rohr-quint  (Ger.)  (ror-quint.)  Reed-fifth;  an  or- 
gan-stop, sounding  the  fifth  above  the  diapasons. 

Romance  (E^-.)  (ip-manhs.)     1  Formerly    the  name 

Romanza  (It.)  (ro-ma/i-tsa.)    \    .        ,    l,    ,        ,     • 

Romanze  (Ger.)  (vd-mdn-ts^.)  J  S^^en  to  the  long  lyric 
tales  sung  by  the  minstrels;  now  a  term  applied 
to  an  irregular,  though  delicate  and  romantic 
composition. 

R6ndo  (It.)  (ron-do.)  A  composition,  vocal  or 
instrumental,  consisting  of  one  prominent  theme 
125 


MUSIC   DICTIONARY 

which  reappears  again  and  again  in  altematioii 
with  other  contrasted  themes. 

Root.     The  fundamental  note  of  any  chord. 

Roulade  (Fr.)  (roo-lad.)     A  florid  vocal  passage. 

Round.  A  species  of  vocal  canon  in  the  unison,  or 
octave;   in  three  or  more  parts. 

Rubato  (It.)  (roo-6a/i-to.)  Robbed,  stolen;  taking 
a  portion  of  the  duration  from  one  note  and  giving 
it  to  another.     See  Tem-po  Rubato. 

Run.  A  rapid  flight  of  notes  introduced  as  an  em- 
bellishment; a  roulade. 

Rustico  (It.)  (roos-te-ko.)     Rural,  rustic. 


S.  As  an  abbreviation  "  S "  means  Segno,  Sin' 
istra,  Subito  or  Senza. 

Sackbut.  An  ancient  bass  wind-instrument,  re- 
sembling a  trombone. 

Saite  (Ger.)  (zi-t6.)  A  string  of  a  musical  instru- 
ment. 

Salcional  (Fr.)  (sal-s!-o-naL)    1  An  8  or  16-foot  or- 

Salicet  (Fr.)  (sa-li-.sd.)  >  gan-stop    of     small 

Salicional  (Fr.)(sa-le-sI-o-?iaZ.)  J  scale  and  reedy  tone. 

Saltando  (It.)  (sal-/dn-do.)  Leaping,  proceeding 
by  skips,  or  jumps;  arco  saltando,  in  violin  music, 
means  skipping  the  bow  upon  the  strings. 

Saltarella  (It.)  (sal-ta-reZ-la.)  A  Roman,  or  Italian 
dance,  quick,  skipping  in  character,  and  in  f  or 
f  time. 

Sanctus  (Lat.)  (sdnk-tijs,.)  Holy;  a  principal 
movement  of  the  Mass. 

Sanft  (Ger.)  (sanft.)  Soft,  mild,  smooth;  mil  sanf- 
ten  stimmen;   with  soft  stops. 

Sans  (Fr.)  (sanh.)     Without. 

Saraband  (Eng.)  (sdr-a-band.)  A  dance  said  to 
be  originally  derived  from  the  Saracens,  and 
danced  with  castanets;  it  is  in  slow  |  or  |  time, 
and  characterized  by  the  second  note  of  the 
measure  being  lengthened,  which  gives  gravity 
and  majesty  to  the  movement. 

Sarrusophone.  A  brass  wind-instrument  named 
after  the  band-master  Sarrus,  of  Paris,  with  a 
double  reed  like  the  oboe  and  bassoon.  It  re- 
sembles the  saxophone.  The  sarrusophone  is 
made  in  various  pitches. 
126 


MUSIC  DICTIONARY 

Sax-horns.  A  group  of  brass  wind  instruments 
invented  by  Antoine  (Adolphe)  Sax,  a  Belgian, 
in  1842.  Consisting  of  a  tube  of  gradually 
widening  calibre  ending  in  a  more  or  less  flaring 
bell.  Through  a  system  of  3  to  5  piston  valves 
the  natural  harmonics  of  the  tube  were  lowered 
in  pitch  as  needed,  resulting  in  a  complete  chro- 
matic scale.  Broadly  speaking,  our  modern 
brass  instruments  (with  valves)  are  Sax-horns, 
variously  modified. 

Saxophone.  Invented  by  M.  Sax,  in  1840.  Con- 
sisting of  a  conical  brass  tube,  key  mecha- 
nism based  on  that  of  oboe  and  Boehm  system, 
and  played  with  a  single  reed  like  clarinet,  to 
v.'hich  instrument  it  is  closely  alhed.  Saxo- 
phones are  made  in  six  keys  from  high  soprano 
to  contra-bass,  the  lower  instruments  being  most 
useful.  The  tone,  while  penetrating,  is  at  the 
same  time  mellow  and  veiled  in  quality.  They 
are  used  to  best  effect  as  a  group  in  Military 
bands,  but  have  been  introduced  successfully  in 
Modern  orchestral  scores. 

Scale.  Primarily  the  "  ladder "  or  succession  of 
tones  belonging  to  any  key.  Scales  may  be 
first  divided  into  Diatonic  and  Chromatic;  then 
the  Diatonic  into  Major  and  Minor,  the  latter 
again  into  Natural,  Melodic  and  Harmonic. 
The  Major  and  Minor  scales  alternate  between 
haif  and  whole  steps  according  to  their  individual 
characteristics.  The  Chromatic  scale  is  made  up 
entirely  of  half-steps.  A  so-called  whole-tone 
(or  step)  scale  has  been  introduced  by  ultra- 
modern composers.  Apart  from  the  general  di- 
visions, there  are  many  special  varieties  of  scales 
or  modes  used  in  the  old  Gregorian  music,  and 
scales  peculiar  to  various  countries. 

In  pipe  organs,  scale  means  the  ratio  between 
lengt,h  and  width  of  pipes;  in  piano  the  ratio 
between  length  and  thickness  of  strings  and 
method  of  stringing. 

Scena  (It.)  (shdy-nh.)  The  scena  is  the  largest 
and  most  brilliant  vocal  solo  form.  It  gener- 
ally consists  of  recitative,  cavatina  and  aria.  It 
generally  forms  part  of  an  opera,  but  it  may  be 
an  independent  composition. 

Schalkhaft  (Ger.)  (sMZZ/c-haft.)  Roguish,  play- 
ful. 

127 


MUSIC    DICTIONARY 

Scherzar.do  (It.)  (skSr-isan-do.)    }   Playful,     lively, 

Scherzhaft  (Ger.)  (sherts-hsiit.)     )   sportive,   merry. 

Scherzo  (It.)  (sker-tso.)  Play,  sport,  a  jest;  a 
piece  of  a  lively,  sportive  character,  and  marked, 
animated  rhythm;  also  one  of  the  movements 
in  a  symphon3^  While  the  scherzo  may  be 
written  in  any  rhythm  and  in  almost  any  form, 
the  great  majoritj'^  of  scherzo  movements  are  in 
triple  rhythm,  and  possess  a  trio. 

Schietto  (It.)  (ske-e^to.)     Simple,  plain,  neat. 

Schleppend  (Ger.)  {shlep-p&nd.)  Dragging,  drawl- 
ing. 

Schluss  (Ger.)  (shlooss.)     The  end;  conclusion. 

Schmachtend  (Ger.)   (shmdkh-t&nd.)     Languishing. 

Schmerzhaft  (Ger.)  (sJunerts-hait.)  Dolorous,  sor- 
rowful. 

Schnell  (Ger.)  (shnSll.)     Quickly,  rapidly. 

Schottisch  (Ger.)  (shot-tlah.)  A  modern  dance, 
rather  slow,  in  f  or  ^  time. 

Schreiend  (Ger.)  (sAn-6nd.)  Acute,  shrill,  scream- 
ing. 

Schwach  (Ger.)  (shvakh.)     Pidno,  soft,  weak. 

Schweige  (Ger.)  (shvi-ghL)     A  rest. 

Schwer  (Ger.)  (shvar.)     Heavily,  ponderously. 

Schwenniithig  (Ger.)  (shvar-ww-tig.)  In  a  pen- 
sive, melancholy  style. 

Scioitezza  (It.)  (she-ol-tet-sa,.)  Freedom,  ease, 
lightness. 

Sciolto  (It.)  (she-oZ-to.)     Free,  light. 

Scordatura  (It.)  (skor-da-^oo-ra.)  A  special  tuning 
scheme  for  string  instruments,  generally  to  sim- 
plify execution  of  some  difficult  passage. 

Score.  The  whole  instrumental  and  vocal  parts  of 
a  composition,  written  on  separate  staves,  placed 
under  each  other.  (Ger.,  Partitur,  Fr.,  Parti- 
tion;  It.,  Partitura.) 

Score,  full.  A  complete  score  of  all  the  parts  of  a 
composition,  either  vocal  or  instrumental,  or 
both. 

Score,  instrumental.  A  score  in  which  the  instru- 
mental parts  are  given  in  full. 

Score,  piano.  A  score  in  which  the  orchestral 
accompaniments  are  compressed  into  a  piano- 
forte part;  an  arrangement  of  music  for  the 
piano. 

Score,  short.  An  abbreviated,  or  a  skeleton 
ecore. 

128 


MUSIC   DICTIONARY 

Score,  vocal.  The  notes  of  all  the  voioe-parts 
placed  in  their  proper  order  under  each  other  for 
the  use  of  the  conductor. 

Scoring.  The  forming  of  a  score,  by  collecting  and 
properly  arranging  the  different  parts  of  a  com- 
position. 

Scorrendo  (It.)  (sk5r-ren-do.)  Ghding  from  one 
sound  into  another. 

Scotch  scale.  A  scale  differing  from  that  of  the 
other  nations  of  Europe  by  its  omission  of  the 
fourth  and  seventh.     See  Scale. 

Scotch  snap.  A  rhythm  common  to  Scottish 
music,  where  a  quarter  note  or  beat  is  divided 
unevenly  into  one  sixteenth  and  a  dotted  eighth 
note. 

Scozzese  (It.)  (skot-sa-zS.)     In  the  Scotch  style. 

Sdegno  (It.)  {sden-yo.)     Anger,  wrath,  passion. 

Se  (It.)  (sa.)     If;  in  case;  provided;   as. 

Sec  (Fr.)  (s6k.)  /  Dry,    unornamented,    coldly; 

Secco  (It.)  (se^'-ko.)  )  the  note,  or  chord,  to  be 
struck  short  or  staccato. 

Second.  An  interval  measuring  two  diatonic  de- 
grees. 

Section.  A  complete,  but  not  an  independent 
musical  idea;  a  part  of  a  musical  period. 

Secular  music.  Music  which  is  intended  for  the 
theatre  or  concert  hall;  an  expression  used  in 
opposition  to  sacred  music. 

Segno  (It.)  (sen-yo.)  A  sign,  :Q:  al  segno,  return 
to  the  sign;  dal  segno,  repeat  from  the  sign. 

Segue  (It.)  (sd-gwe.)  Follows;  now  follows;  as 
follows;  it  also  means,  go  on,  in  a  similar,  or 
like  manner,  showing  that  a  passage  is  to  be 
played  like  that  which  precedes  it. 

Seguidilla  (Spa.)  (sa-gue-cZeZ-ya.)  A  favorite  Span- 
ish dance  in  f  time. 

Sehnsucht  (Ger.)  (sdn-sookht.)  Desire,  longing, 
ardor,  fervor. 

Sehr  (Ger.)  (zair.)     Very,  much,  extremely. 

Semibreve  (Eng.)  (sem-i-brev.) 

Half  a  breve;  whole  note.  '^    I 

Semitone  (Eng.)  (sem-I-ton.)  A  half-tone,  or  half- 
step. 

Semplice  (It.)  (sem-ple-tshS.)     Simple,  pure,  plain. 

Sempre  (It.)  (sem-pr6.)  Always,  evermore,  con- 
tinually. 

129 


MUSIC   DICTIONARY 

Sensibilita  (It.)  (sgn-se-be-le-fa.)  Sensibility,  ex- 
pression, feeling. 

Sentimento  (It.)  (s^n-te-men-to.)  Feeling;  senti- 
ment; delicate  expression. 

Senza  (It.)  (sen-tsa.)     Without. 

Septet  (Eng.)  (s&p-tet.)  A  composition  for  aeven 
^voices,  or  instruments. 

Sequence  (Eng.)  (sc-quens.)  A  series,  or  pro- 
gression, of  similar  chords,  or  intervals,  in  suc- 
cession. 

Serenade    (Fr.)    (say-ray-nad.)   1   Night  music;   an 

Serenata  (It.)  (say-ray-M-ta.)  (  evening  concert 
in  the  open  air  and  under  the  window  of  the  per- 
son to  be  entertained.  This  word  is  used  in 
different  senses  in  instrumental  music.  In  the 
eighteenth  century,  it  was  used  to  denote  a  rather 
free  suite  of  pieces,  often  orchestral,  and  forming  a 
short  program  of  music  for  an  evening  perfor- 
mance. 

Sereno  (It.)  (say-ra-no.)  Serene,  calm,  tranquil, 
cheerful. 

Serio  (It.)  (sa-re-o.)  I  o    • 

Serioso  (It.)  (sa-re4-zo.)  ^erious,  grave;  ma  seri- 
ous, sedate  style. 

Serpent.  An  ancient  bass  wind  instrument,  so 
named  on  account  of  its  resemblance  to  a  serpent. 
The  tone  was  rough  and  coarse,  and  the  instru- 
ment has  been  happily  replaced  in  modern  bands 
and  orchestras  by  the  tuba.  Also  a  reed-stop  in 
an  organ. 

Sesquialtera  (Lat.)  (s6s-qu!-aZ-te-ra.)  An  organ- 
stop,  comprising  two  or  more  ranks  of  pipes,  of 
acute  pitch. 

Seventeenth.     An  organ-stop.     See  Tierce. 

Seventh.  An  interval  measuring  seven  diatonic 
degrees. 

Seventh  chord.  A  chord  composed  of  a  root,  its 
third,  fifth  and  seventh. 

Severita  (It.)  (sa-va-re-^.)     Severity,  strictness. 

Sextet.  A  composition  for  six  voices  or  instru- 
ments. 

Sextole  (Lat.)  (s§x-td-\e.)  )   A    group    of    six 

Sextuplet  (Lat.)  {sex-tu-plSf .)  )  notes,  having  the 
value,  and  to  be  played  in  the  time  of 
four. 

Sfogato  (It.)  (sio-gd-to.)     A  very  high  soprano,  or 
a  direction  to  sing  in  a  light  manner. 
130 


MUSIC  DICTIONARY 

Sforzando  (It.)  (sfor-/sa?i-do.)    )    Forced;    one    par- 
Sforzato  (It.)  {sior-tad-to.)         )   ticular    chord,    or 

note,  is  to  be  played  with  force  and  empha^'^is. 
Sfumato  (It.)    (sfoo--mtt/i-to.)     Very  hghtly,  hke  a 

vanishing  smoke-wreath. 
Shake.     See  Trill 

Sharp.     The  sign  if,  which  occurring  either  before 

a  note  or  in  the  signature,  raises  the  pitch  of  a 

tone   one   ciiromatic   half-step.     See   Accidentals 

and  Chromatics. 

Sharp,  double.     See  double  sharp. 

Shift.     A  change  of  position  of  the  left  hand,  in 

playing  the  violin,  etc. 
Si  (It.)  (se.)     Applied  in  solfding  to  the  note  B. 
Siciliana  (It.)  (se-tshe-le-d-n-i.)    )   A  dance    of  the 
Siciliano  (it.)  (se-tshe-le-a-no.)    )    Sicilian  peasants, 
a  graceful  movement  of  a  slow,  soothing,  pastoral 
character,  in  f  or  V  time. 
Side-drum.     The  common  military  drum  so-called 
from  its  hanging  at  the  side  of  the  drummer  when 
played  upon. 
Signature.     The  sharps,   flats,   or  figures   in  frac- 
tional form  given  at  the  beginning  of  a  compo- 
sition.    The  former  constitue  the  key  signature 
and  are  placed  at  head  of  each  staff;  the  latter 
constitute  the  time  signature  and  are  placed  at 
beginning  or  where  the  time  changes. 
Signs.     The  following  are  the  cliief  signs  used  in 
music : 

•    (1)    A   dot   above  or  below  a  note  signifies 
staccato.     (2)   After  a  note,  or  rest,  it  is  a 
sign  of  length. 
t     A  dash  above  or  below  a  note  signifies  stac- 

catissimo  (becoming  obsolete  at  present), 
^v  A  slur,  bind,  tie. 

^  A  slur  and  dots  above  or  below  two  or  more 
notes  (one  dot  to  each  note)  indicate  that 
the  latter  have  to  be  played  somewhat 
detached.  See  Portamento. 
^"  Sustained.  Horizontal  dashes  above  or  be- 
low a  series  of  notes  indicate  that  they 
have  to  be  sustained  but  not  slurred. 
T    Accented  and  sustained,  hen   pronunziato  or 

marcato. 
1=3  With  a  weighty   and  well-sustained  touch, 

pesante,  or  martellato. 
"==  Crescendo. 

131 


MUSIC   DICTIONARY 

=^  Diminuendo. 

=-  and  ■=  Rinforzando,    accented. 

A  Forzando,  or  sforzato,  accented.  A  and  =» 
mean  practically  the  same,  unless  used 
together,  when  the  first  has  the  stronger 
accent. 

-=:=»  In  vocal  music  would  mean  Messa  di  Voce 
(wliich  see).  In  instrumental  music  it 
would  also  mean  crescendo  and  diminuendo 
(a  swell  mark),  but  it  is  sometimes  used 
over  a  single  note,  or  chord,  in  piano 
music,  in  which  case  it  means  resonance 
without  suddenness. 

V    Up-bow;    m   Down-bow. 

'^     Hold,  or  Fermata. 

ir  Repeat  preceding  measure. 

j;f?    %'  Segno.     Repeat  from  this  sign. 

^*    ^*    ixt^      Double  sharp. 


Repeat. 


:!l:     Repeat. 

X  or  +  Thumb  (pfte-music.)    American  Fingering. 

9     Breathing-mark. 

"^  Added  hues  to  call  attention  to  repetition 
||j  dots.  Bis  is  also  sometimes  used  as  a 
^        repeat-mark. 

-w  'Nv         Mordent  and  Frailer. 

^    '^    Z    Turns. 

/    Repeat  preceding  figure  of  eighth  notes. 

U   Repeat  preceding  figure  of  sixteenth  notes. 

Hi  Repeat  preceding  figure  of  thirty-second  notes. 

-'^'^^'•^  Indicates  the  continuation  of  a  triU  or 

an  octave  mark. 
Arpeggio. 

Signifies  sometimes  in  pianoforte  music  that 
two  notes  on  different  staves  have  to  be 
played  with  one  hand. 


[ 


A  stave.        I         A  bar. 


— ■     A  double  bar. 

132 


MUSIC   DICTIONARY 

^  The  coda  mark.  First  time  of  playing  dis- 
regard the  sign.  Second  time  (after  D.  C.) 
skip  from  this  sign  to  the  coda.  Some- 
times the  sign  is  also  placed  at  the  co<Ia. 

jmojma     .  Pri^Q^  Prima  {-prima  volta). 

jjdo  jjda.  Secondo.  Seconda  {seconda  volta). 

M.  M.  J  =  120.  Refers  to  Maelzel's  metro- 
nome. This  or  any  other  figm-e  indicates 
to  which  part  of  the  pendulmn  the  regu- 
latory is  to  be  moved,  and  this  or  any 
other  note  indicates  whether  it  beats 
halves,  quarter-notes,  or  eighths,  so  many 
to  the  minute. 


A  direct. 


^ed,  :  The  sign  to  -press  doiim  the  loud  pedal  on 
pianoforte. 

^  -^  These  signs  also  refer  to  the  pianoforte- 
pedal.  The  first  is  the  only  one  now  in 
use,  and  indicates  where  the  foot  is  to  be 
raised  after  the  pedal  has  been  pressed 
down.  The  second  is  sometimes  found  in 
German  editions. 

I — '  An  American  pedal-mark,  showing  exactly 
how  long  to  use  the  damper-pedal. 

V     A  breathing-mark  in  some  vocalises. 

I I  I  1  Organ-music,  pedal;  notes  so  con- 
nected are  to  be  played  with  alternate 
toe  and  heel  of  same  foot.  Heel  and  toe 
are  also  sometimes  marked  a  v  and  also  o, 
A  over  the  note,  meaning  right  foot,  and 
under,  left  foot. 

A  — V    Change  toes  on  organ-pedal. 

"^O^      Shde  same  toe  to  next  note. 

O     Thumb  position  (violoncello-playing). 

\     Brace. 

Tr.  ^^^^  Trill. 

•'[^  Short  grace-note  or  acciaccatura. 

•T*    »>  0  Long  grace-note  or  appoggiatura. 
133 


MUSIC   DICTIONARY 

Similar  motion.     Where  two  or  more  parts  ascend, 

or  descend,  at  the  same  time. 
Simile  (It.)  (se-me-le.)     Similarly;   in  like  manner. 
Sin'  al  fine  (It.)  {seen  al  fee-n&.)     To  the  end;    as 

far  as  the  end. 
Sincopa  (It.)  (s^n-ko-pa.)  i  g     ^  . 

Smcope  (It.)  (s2n-ko-pe.)  )  ^      '■ 

Sinfonia   (It.)    (sin-fo-?2^-a.)  /  An    orchestral     com- 
Sinfonie     (Fr.)     (sin-fo-??e.)  \  position      in      many 

parts;    used   by   Bach   and   others  for  prelude. 

See  Symphony. 
Sino  (It.)  (see-no.)  I  To;  as  far  as;  until.     Confuoco 
Sin    (It.)    (seen.)  f  sin'  al  fine;   with  spirit  to  the 

end. 
Sixteenth  note.     A  semiquaver,  g. 
Sixteenth  rest.     A  pause  equal  in  duration  to  a 

sixteenth  note. 
Sixth.      An   interval    measuring   six   diatonic   de- 
grees. 

Sixty-fourth  note.     A  hemidemisemiquaver.        § 

Sixty-fourth  rest.  A  pause  equal  in  point  of  du- 
ration to  a  sixty-fourth  note. 

Skip.  A  term  applied  to  any  transition  exceeding 
that  of  a  whole  step. 

Slancio,  con  (It.)  (kon  slan-tshee-oh.)  With  ve- 
hemence; impetuously. 

Slargando  (It.)  (slar-grdn-do.)  Extending,  enlarg- 
ing;  the  time  to  become  gradually  slower. 

Slentindo  (It.)  (slen-tdn-do.)  Relaxing  the  time; 
becoming  gradually  slower. 

Slide.  1.  A  movable  tube  in  the  trombone  (for- 
merly in  the  trumpet),  which  is  pushed  in  and 
out  to  alter  the  pitch  of  the  tones  while  pla^^ing. 
2.   A  rapid  run  of  two  or  more  notes. 

Slur.  A  curved  line  drawn  over  or  under  two  or 
more  notes,  signifying  that  they  are  to  be  exe- 
cuted legato.  The  slur  is  used  also  in  modern 
piano  music  to  indica'.;e  melodic  phrasing. 

Small  octave.  The  name  given  in  Germany  to  the 
notes  included  between  C  on  the  second  space 
of  the  bass  staff  and  the  B  above,  these  notes 
being  expressed  by  small  letters,  as  a,  b,  c,  d, 
etc. 

Smaniante  (It.)   (sman-e-an-t5.)  1  Furious;     vehe- 

Smaniato     (It.)     (sma-ne-d-to.)    [  ment;       frantic 

Smanioso     (It.)     (sma-ne-o-zo.)  J  with     rage. 
134 


MUSIC    DICTIONARY 

Smorzando  (It.)  (sna6r-fsan-do.)  {  Extinguished;  put 
Smorzato    (It.)    (srn6r-isa-to,)     ( out;  suddenly  dy- 
ing away. 
Snare-drum.     The    commonly    used    small    drum, 
so  named  on  account  of  the  snares  or  strings  of 
raw-hide  drawn  over  its  lower  head. 
Soave    (It.)    (so-a-ve.)     A   word   implying   that   a 
movement  is  to  be  played  in  a  gentle,  soft  and 
engaging  style. 
Sol  (sol.)     A  syllable  applied  by  the  Italians  and 
French  to  G,  the  fifth  sound  of  the  diatonic  scale 
ofC. 
Solenne  (It.)  (s6-Zer?-nS.)     Solemn. 
Solfaing.     Singing  the  notes  of  the  scale  to  the 
monosyllables   applied  to  them  by  Guido.     ut, 
re,  mi,  fa,  sol,  la,  si;   using  do  in  place  of  ut. 
Solfege  (Fr.)  (sol-fezh.)         1  Exercises  for  the  voice 
Solfeggi  (It.  pi.)  (sol-/cd-ji.)  >  according  to  the  rules 
Solfeggio  (It.)  (soI-/ed-je-o.)  J  of  solfainj. 
Sohnization.     See  Solfeggi. 

Solo  (It.)  (80-I0.)  I  A  composition  for  a  single 
Solo  (Fr.)  (s6-l6.)  [  voice,  or  instrument,  or  a 
Solo  (Ger.)  (so-lo.)  j  passage  for  single  voice  or 
instrument  introduced  in  an  ensemble  composi- 
tion. 
Son  (Fr.)  (s6nh.)     Sound. 

Sonabile  (It.)  (s6-r?a-be-le.)     Sonorous,  resonant. 
Sonare    (It.)    (so-na-rS.)     To    sound;     to    have    a 

sound;  to  ring;  to  play  upon. 

Sonata   (It.)    (so-nd-ta,.)     ]  An    instrumental  com- 

Sonate  (Fr.)  (so-ndt.)  \  position,      usually  ^  of 

Sonate  (Ger.)  (so-.na-te.)    J  three    or  four   distinct 

movements,  each  with  a  unity  of  its  own,  yet 

all  related  so  as  to  form   a  perfect   whole.      It 

commonly    begins    with    an    allegro,    sometimes 

preceded  by  a  slow  introduction.     Then  come  the 

andante,  adagio,  or  largo;    then  the  minuet  and 

trio,  or  scherzo;    and  lastly  the  finale  in  quick 

time.     This  form  is  applied,   not  only  to  large 

piano  sonatas,  but  to  symphonies,  string  quartets, 

etc. 

Sonatina  (It.)  (so-na-fe-na.)   )   A  short,  easy  sonata, 

Sonatine  (Fr )  (so-na4en.)      )    generally      tw^o      or 

three  movements.     The  sonatina  movement  dififera 

from  the  sonata-allegro  in  having  no  development, 

or  middle  section,  being  merely   an  exposition, 

followed  by  a  recapitulation. 

135 


MUSIC   DICTIONARY 

Song.  1.  (Ger.,  Gesang;  Fr.,  chant;  It.,  canto.) 
Vocal  musical  expression  or  utterance.  2.  (Ger., 
Lied;  Fr.,  chanson;  It.,  canzone.)  A  lyrical 
poem  set  to  music.  The  song  deals  with  emo- 
tions; the  ballad  tells  a  story.  Song  form  is  a 
musical  form  originally  derived  from  vocal  music. 
(See  Form.)  Folk-song  is  a  simple  song  (fre- 
quently a  ballad)  which  is  popular  with  the 
common  people.  Songs  are  chiefly  of  two  styles 
of  composition.  1st.  The  strophe  form,  in  which 
the  music  is  set  to  the  first  stanza  and  then  re- 
peated to  each  succeeding  stanza.  2d.  The  art- 
song  (or  through-composed  —  Durch-componiert 
style),  in  which  each  stanza  receives  separate 
musical  treatment  according  to  its  contents. 

Sono  (It.)  {soh-no.)     Sound,  tone. 

Sonore  (Fr.)  (s6-nor.)       I    Sonorous,     harmonious, 

Sonoro  (It.)  (so-rjo-ro.)     )        resonant. 

Sopra  (It.)  (so-pra.)  Above,  upon,  over,  before. 
See  Super. 

Soprano  (It.)  (so-pra-no.)  The  treble;  the  high- 
est kind  of  female  voice;  a  treble,  p  j>  "p — 
or  soprano  singer.  Normal  com-  -(n)  | — m 
pass  about  •/  -»■ 

Sordamente  (It.)  (s6r-da-men-te.)  Softly,  gently; 
also,  damped,  muffled. 

Sordino  (It.)  (sor-dee-no.)  Sordine  or  mute.  A 
contrivance  to  deaden  the  vibration  and  change 
the  natural  sound  of  an  instrument.  On  the 
violin,  etc.,  a  piece  of  wood  or  metal  is  attached 
to  the  bridge.  The  mute  or  sordino  for  brass  wind 
instruments  is  made  of  wood  or  metal,  cone 
shape,  and  is  inserted  in  the  bell  of  the  instrument. 
The  dampers  on  a  piano,  actuated  by  the  pedals 
are  sordini. 

Sospirando  (It.)  (sos-pe-mn-do.)  Sighing;  very 
subdued;  doleful. 

Sostenuto  (It.;  (sos-tS-woo-to.)  Sustaining  the 
tone;  keeping  the  notes  down  their  full  duration. 

Sotto  (It.)  {sot-to.)     Under,  below. 

Sotto  voce  (It.)  (so/-to  vo-tsh6.)  Softly;  in  a  low 
voice;  in  an  undertone. 

Sound  post.  A  small  post,  or  prop,  within  a  violin, 
nearly  under  the  bridge;  it  is  not  only  to  sustain 
the  tension  but  to  carry  the  vibrations  from  the 
frontboard,  or  belly  to  the  back,  thus  making  the 
whole  sound-box  vibratory. 
136 


MUSIC   DICTIONARY 

Space.  The  interval  between  the  lines  of  the 
stafif. 

Spasshaft  (Ger.)  (sposs-haft.)  Sportively,  play- 
fully, merrily. 

Spianato  (It.)  (spe-a-jm-to.)     Smooth,  even;  legdto. 

Spiccato  (It.)  (spek-Zca-to.)  Separated,  pointed, 
distinct,  detached;  in  violin  music  it  means  that 
the  notes  are  to  be  played  with  the  point  of  the 
bow. 

Spinet  (Eng.)  (sptn-^t.)  A  stringed  instrument  for- 
merly much  in  use,  somewhat  similar  to  the  harp- 
sichord. 

Spirito  (It.)  (spee-re-to.)     Spirit,  life,  energy. 

Spitz-fiote  (Ger.)  (spltz-^d-tg.)    )  Pointed-flute;     an 

Spitz-flute  (Eng.)  )     organ-stop   of    a 

soft,  pleasing  tone,  the  pipes  of  which  are  conical, 
and  pointed  at  the  top. 

Squillante  (It.)  (squeel-!/an-t6.)  Clear,  plain,  sound- 
ing, ringing. 

Stabat  mater  (Lat.)  (s^d-bat  md-tgr.)  "  The 
Mother  stood."  The  first  words  of  a  Latin  hymn 
on  the  Crucifbdon. 

Stabile  (It.)  (s^-be-le.)     Firm. 

Staccato  (It.)  (stak-lrd-to.)  Detached;  distinct; 
separated  from  each  other. 

Staccato  marks.  Small  dots  or  dashes  placed 
over      or     .      .      .      ♦      t      t        under     the 


notes,   thus:    "f~   ^     ,"=  T     T     r— '  The  wedge- 


fl  h  a  p  e  d 


I       I       I 


t=t: 


marks     are 


shorter  than  the  dots,  but  are  Uttle  used  by 
modern  composers. 

Staff.  The  five  horizontal  and  parallel  lines,  on 
and  between  which  the  notes  are  written. 

Stanchezza  (It.)  (stan-/c€^-za.)  Weariness;  con 
St.,  wearilj'-;  very  dragging. 

Standchen  (Ger.)  (stend-khen.)     A  serenade. 

Stark  (Ger.)  (stark.)     Strong,  loud,  vigorous. 

Stentando  (It.)  (st&n-tdn-do.)  Heavy,  and  re- 
tarding. 

Stentado    (It.)    (st6n-^-to.)     Hard,    forced,    loud. 

Step.  The  progression  from  one  degree  on  the 
staff  to  the  next  above  or  below;  the  unit  for 
measuring  all  intervals.  The  whole-step  or  simply 
step  is  equivalent  to  a  major  second  (or  tone) 
and  the  half-step  to  a  minor  second  (or  semi- 
tone). The  word  step  is  preferable  to  "tone" 
which  Uterally  means  sound  and  cannot  properly 
137    ' 


MUSIC   DICTIONARY 

be  divided  or  form  a  unit  for  measurement  of 
distance. 

Stesso  (It.)  The  same;  lo  stesso  tempo,  in  the  same 
time. 

Stfle  (It.)  (sie-16.)     Style. 

Stimme  (Ger.)  [stlm-m^.)  The  voice;  sound;  a 
sound-post;  a  part  in  vocal,  or  instrumental 
music;  also  an  organ-stop,  or  register. 

Stimmung  (Ger.)  {stlm-moong.)  Tuning,  tune, 
tone. 

Stop.  A  register,  or  row  of  pipes  in  an  organ;  on 
the  violin,  etc.,  it  means  the  pressure  of  the  finger 
upon  the  string.  Double-stop,  pressing  two 
strings  at  once.  Organ-stops  are  of  two  kinds, 
flue,  and  reed-stops.  (See  Organ.)  The  flue- 
stops  are  subdivided  into,  1st,  principal,  or  cylin- 
drical pipes  of  diapason  style;  2d,  gedackt  (or 
covered)  pipes,  which  are  stopped  at  the  end,  and 
give  a  hollow  tone;  3d,  flute-work,  which  in- 
cludes pipes  which  are  too  narrow  to  sound 
their  fundamental  tones,  stopped  pipes,  witii 
chimneys,  and  three-sided  or  four-sided  pipes. 
Mechanical-stops  are  those  which  do  not  give  a 
tone,  but  work  some  mechanism,  as  the  couplers, 
etc.  Mixture-stops  are  those  sounding  more  than 
one  note  to  a  single  key.  They  are  to  add  the 
harmonics  to  the  principals.  See  Harmonics, 
Acoustics,  Organ,  Pipe. 

Stopped  diapason.  A  stop,  the  pipes  of  which  are 
generally  made  of  wood,  and  its  bass,  up  to  middle 
C,  always  of  wood.  They  are  only  half  as  long  as 
those  of  the  open  diapason,  and  are  stopped  at 
the  upper  end  with  wooden  stoppers,  or  plugs 
which  render  the  tone  more  soft  and  mellow 
than  that  of  the  open  diapason,  and  lower  it 
an  octave. 

Stop,  salcional.     A  variety  of  Dulciana  stop. 

Stops,  compound.  An  assemblage  of  several  pipes 
in  an  organ,  three,  four,  five  or  more  to  each 
key,  all  answering  at  once  to  the  touch  of  the 
performer.     Mixture-stops. 

Stops,  draw.     See  Draw-stops. 

Stop,  sesquialtera.  A  stop  resembling  the  mixture, 
running  through  the  scale  of  the  instrument,  and 
consisting  of  three,  four,  and  sometimes  five, 
ranks  of  piues,  tuned  in  thu'ds,  fifths,  and 
eighths. 

138 


MUSIC  DICTIONARY 

Stops,  mutation.  In  an  organ,  the  twelfth,  tierce, 
and  their  octaves. 

Stop,  solo.  A  stop  which  may  be  drawn  alone,  or 
with  one  of  the  diapasons. 

Stops,  reed.  Stops  consisting  of  pipes  upon  the 
end  of  which  are  fixed  thin,  narrow  plates  of 
brass,  which,  being  vibrated  by  the  wind  from 
the  bellows,  produce  a  reedy  thickness  of  tone. 
See  Pipes. 

Stop,  stopped  unison.     The  stopped  diapason  stop. 

Stop,  tierce.  A  stop  tuned  a  major  third  higher 
than  the  fifteenth,  and  only  employed  in  the  full 
organ. 

Stop,  treble  forte.  A  stop  applied  to  a  melodeon, 
or  reed-organ,  by  means  of  which  the  treble  part 
of  the  instrument  may  be  increased  in  power, 
while  the  bass  remains  subdued. 

Stop,  tremolo.  A  contrivance,  by  means  of  which 
a  tremulous  eflect  is  given  to  some  of  the  reg- 
isters of  an  organ. 

Stop,  trumpet.  A  stop,  so-called,  because  its  tone  is 
imitative  of  a  trumpet.  In  large  organs  it  gen- 
erally extends  through  the  whole  compass. 

Stop,  twelfth.  A  metallic  stop,  so  denominated 
from  its  being  tuned  twelve  notes  above  the 
diapason.  This  stop,  on  account  of  its  pitch,  or 
tuning,  can  never  be  used  alone. 

Stradivari.  The  name  of  a  very  superior  make  of 
violin,  so-called  from  their  maker,  Stradivarius, 
who  made  them  at  Cremona,  Italy,  in  the  first 
part  of  the  eighteenth  century. 

Strain.  A  portion  of  music  divided  ofif  by  a  double 
bar.     A  period. 

Strascinato  (It.)  (stra-she-na-to.)  Dragged  along; 
played  slowly. 

Strathspey.  A  lively  Scotch  dance  somewhat  slower 
than  the  reel,  and  like  it  in  f  time,  but  in  dotted 
eighth  notes  alternating  with  sixteenths,  pro- 
ducing the  peculiar  jerky  rhythm  of  the  Scotch 
snap.     See  Scotch  Snap. 

Strepitoso  (It.)   (strS-pe-^o-z5.)     Noisy,  boisterous. 

Stretta  (It.)  (s^re^-ta.)_  A  concluding  passage, 
coda,  or  finale,  taken  in  quicker  time  to  enhance 
the  effect. 

Stretto  (It.)  (stret-to.)  Pressed,  close,  contracted; 
formerly  used  to  denote  that  the  movement 
indicated  was  to  be  performed  in  a  quick,  con- 
139 


MUSIC   DICTIONARY 

cise   style.     In   fugue-writing,   that   part  where 
the  subject  and  answer  overlap  one  another. 

Stridente    (It.)   (stre-den-t6.)     Sharp,  shrill,  acute. 

Stringed  instruments.  Instruments  whose  sounds 
are  produced  by  striking,  or  plucking  strings, 
or  by  the  friction  of  a  bow  drawn  across  them. 

Stringendo  (It.);  (streen-jen-do.)  Pressing,  acceler- 
ating the  time. 

String  quartet.  A  composition  for  four  instruments 
of  the  violin  species,  as  two  violins,  a  viola  and 
violoncello;  or  the  gxoup  of  performers. 

Strisciando  (It.)  (stre-she-a«-do.)  Gliding;  slur- 
ring; sliding  smoothly  from  one  note  to  an- 
other. 

Stiick  (Ger.)  (stiik.)     Piece,  air,  tune. 

Stiicken  (Ger.)  {stiik-en.)     Pieces. 

Studien  (Ger.  pi.)  (sfoo-dee-en.)     Studies. 

Stufe  (Ger.)  (s^oo-fe.)     Step,  degree. 

Stiimiisch  (Ger.)  {stiirrn-lsh.)  Impetuously,  bois- 
terously, furiously. 

Styrienne.  (Fr.)  (stee-ree-en.)  An  air  in  slow 
movement  and  |  time,  often  in  minor,  with 
Jodler  after  each  verse. 

Su  (It.)  (soo.)     Above,  upon. 

Suavita  (It.)  (soo-wa-ve-ia.)  Suavity,  sweetness, 
delicacy. 

Sub  (Lat.)  (stib.)     Under,  below,  beneath. 

Sub-bass  (Ger.)  (soob-bass.)    }  Underbass;    an  or- 

Subbourdon.  )   gan-register  in   the 

pedals,  usually  a  double-stopped  bass  of  32  or  16- 
foot  tone.     The  ground  bass. 

Subdominant.  The  fourth  tone  of  any  scale,  or 
key.     Tone  below  dominant. 

Siibito  (It.)  (soo-be-to.)  Suddenly;  immediately; 
at  once. 

Subject.  A  melody,  or  theme;  a  leading-text,  or 
motivo. 

Submediant.  The  sixth  tone  of  the  scale.  The 
middle  note  between  tonic  and  sub-dominant 
(below). 

Suboctave.  An  organ-coupler  producing  the  oc- 
tave below. 

Subprincipal.  Under  principal,  that  is,  below  the 
pedal-diapason  pitch;  in  German  organs  this 
is  a  double  open  bass-stop  of  32-foot  scale. 

Sub  tonic.  Under  the  tonic;  the  semitone  immedi- 
ately below  the  tonic. 

140 


MUSIC   DICTIONARY 

Suite  (Fr.)  (sweet.)  A  series,  a  succession;  une 
suite  de  pieces,  a  series  of  lessons,  or  pieces. 

Suite  de  Danses.  (Fr.)  (sweet  de  dans.)  A  set  of 
dances.  It  was  generally  known  as  the  suite, 
and  probably  began  not  far  from  the  year  1600 
in  the  freer  Partita.  Both  had  their  origin  in 
dances.  The  contrasts  of  the  suite  were  well- 
established  by  Bach,  and  the  movements  grad- 
ually assumed  the  following  order  in  his  suites: 
A  prelude  or  not,  as  the  composer  desired,  after 
which  came  the  allemande,  the  courante,  the 
sarabande,  the  intermezzi,  and  finally  the  gigue. 
The  intermezzi  were  from  two  to  four  dances,  or 
other  movements,  left  to  the  choice  of  the  com- 
poser, as  minuets,  gavottes,  etc.  The  modern  or- 
chestral suite  is  of  a  much  freer  character  and  is 
practically  a  small  symphony. 

Suivez  (Fr.)  (swe-va.)  Follow,  attend,  pursue; 
the  accompaniment  must  be  accommodated  to 
the  singer,  or  solo  player. 

Sul  (It.)  (sool.) 

SuU'  (It.)  (sool.)         •  On,  upon  the. 

Sulla  (It.)  (sooMa.)   J 

Superdominant.  The  tone  in  the  scale  next  above 
the  dominant;  also  sub-mediant. 

Superoctave.  An  organ-stop  tuned  two  octaves, 
or  a  fifteenth,  above  the  diapasons;  also  a  coupler 
producing  the  octave  above, 

Supertonic.     Tone  above  the  tonic. 

Supplichevole  (It.)  (soo-ple-^e/i-vo-le.) 

Supplichevolmente  (It.)  (soop-ple-keh-  \  In  a   sup- 
vol-?nen-tg.) 
plicatory  manner. 

l!!'^^;\&M   On,  upon,  over. 


SuT  (Fr.)  (siir.) 

Suspension.  A  theoretical  expression  applied  to 
the  retaining  in  any  chord  some  note,  or  notes, 
of  the  preceding  chord.  A  dissonant  note  which 
finally  sinks  into  the  harmony  of  the  chord. 

Siiss  (Ger.)  (ziiss.)     Sweetly. 

Sussurando  (It.)  (soos-soo-ran-do.)  Whispering, 
murmuring. 

Svegliato  (It.)(sv6l-ye-a-t5.)  Brisk,  lively,  sprightly. 

Svelto  (It.)  (svei-to.)^    Free,  light,  easy. 

Swell.       A  gradual  increase  of  sound. 

Swell-organ.  In  organs  having  three  manuals, 
the  third,  or  upper,  controlling  a  number  of 
141 


MUSIC   DICTIONARY 

pipes  enclosed  in  a  box,  which  may  be  gradually 
opened,  or  shut,  and  thus  the  tone  increased,  or 
diminished,  by  degrees.     See  Organ. 
Swell-pedal.     That   which   opens   the   shutters   of 

the  swell-organ,  increasing  the  tone. 
Symphonie  (Fr.)  (sanh-fo-ne.)  1  In  the  first  hali 
Symphonie  (Ger.)  (slm-fo-nee.)  \  of  the  eight- 
Symphony  (Eng.)  J  eenth  century 
symphony  meant  any  instrumental  prelude,  or 
interlude,  or  postlude.  It  now  means  a  grand 
composition  of  several  movements,  for  a  full 
orchestra.  The  symphony  in  its  present  form 
was  introduced  by  Haydn,  and  generally  consists 
of  an  allegro  movement  (sometimes  with  a  slow 
introduction),  a  slow  movement,  a  minuet  or 
scherzo,  and  a  finale.  It  is  a  sonata  for  orchestra. 
(See  Sonata.)  For  further  information  re- 
garding symphony  see  Grove's  "  Beethoven's 
Nine  Symphonies,"  Weingartner's  "  Symphony 
since  Beethoven,"  Elson's  "  Famous  Composers 
and  their  Works." 
Symphonic  poem.  A  form  of  orchestral  composi- 
tion originated  by  Liszt  and  developed  by  Rich- 
ard Strauss  and  other  moderns.  It  is  a  musical 
illustration  or  setting  of  an  episode  or  story. 
There  is  no  set  form,  but  the  themes  or  mo- 
tives are  logically  introduced  and  developed,  and 
the  opportunity  for  orchestral  expression  is  un- 
limited. 
Syncopation.  A  temporary  displacement  of  the 
natural  accent  in  music.  For  instance  making 
the  note  attacks  fall  between  the  pulses  or  beats, 
or  shifting  the  accent  from  the  naturally  strong 
first  or  third  beat  to  the  weak  second  or  fourth 
beat.  There  are  various  forms  of  syncopation, 
but  the  principle  is  the  same  in  all.  The  syn- 
copation cannot  be  continued  for  too  long  a 
period  without  danger  of  entirely  supplanting 
the  original  beat  or  pulse,  especially  when  no 
part  is  sustaining  the  original  accent  against  it. 


T.     An  abbreviation  of  Talon,   Tasto  (t.s.  =  tasto 
solo),    Tempo   (a.t.  =  a  tempo).    Tenor,    Toe   (in 
organ-music),  Tre  (T.G.  =  tre  corde),  and  Tutii. 
142 


MUSIC   DICTIONARY 

Tablatura  (It.)  (tab-la-^oo-ra  )         ]  ^  ^^^^  formerly 

Tablature  (Fr.)  (ta-bla-tur.)  I  „ i-    ,     .^    .^^ 

Tablature  (Eng.)  (^a6-la-tshur.)  ^PP^^^^  *^  *^^ 
Tabulatur  (Ger.)  (ta-boo-la-^oor.)J  general  assem- 
blage of  the  signs  used  in  music;  the  method  of 
notation  for  the  lute,  and  other  similar  instru- 
ments, was  also  distinguished  by  this  appellation. 
The  musical  rules  of  the  master-singers  were  also 
called  the  tablatur.  But  the  chief  use  of  the  word 
is  to  designate  the  pitch  of  different  notes  in 
different  octaves  by  letters  with  numerals,  ac- 
cents, or  adjectives  attached.  The  principle  of 
the  tablature  of  pitches  dates  back  to  the  time 
of  Guido  of  Arezzo,  about  A.  D.  1000.  The  chief 
system  used  by  musicians  is  the  following: 
(Note  capitals  or  small  letters.) 


Sub-contra  Octave.        Contra  Octave.\ 
!  C,  D,E„F,  G,A.  B,  i  !C,  D,  E,  F,  G,  A,  B,  ] 


J — I — I — I — I — I — \- 


8va. 


Great  Octave.  Small  Octave. 

ICDEFGABl'icdefgabi 


One-lined  Octave.  Two-lined  Octave. 


i 


!c'  d'  e'  V  g'  a'b'  |  ^.«. 


z^r^ 


I  c'  d'  e'  f  g"  a'b' 


m 


Three-lined  Octave. 

^   ^   ^   ^   ^.   ^   ^ 


W 


I  ^n,    ^,,,     g///     J///     g,,/     ^,,,     jj„, J 

143 


I 


MUSIC   DICTIONARY 

Four-lined  Octave. 
8va 

^.   wft.   :^   :^   £ 
tr   rr   E   f   tz 

-I 1 \       r — I — 


-F-r  I  r  r 


I  f^nn^u,,,  g„„  ^nn  g,„/  ^„n  ^,,„  | 

In  many  cases,  however,  the  lines  are  made 
horizontal  instead  of  vertical,  thus,  c,  e,  etc.,  and 
sometimes  the  subcontra  notes  are  written  with 
three  capitals  (CCC,  DDD,  etc.),  and  the  contra 
notes  with  two  (CC,  DD,  etc.),  instead  of  having 
lines  attached. 

Tacet  (Lat.)  (fa-set.)  |   Be    silent;     a    term 

Tace  (it.)  (fa-tsha.)  I  found    in   the   sepa- 

Taci  (It.)  (fa-tshe.)  |  rate     vocal    or    in- 

Taciasi  (It.)  (ta-tshe-a-ze.)  J  strumental  parts  of 
a  composition  to  indicate  that  that  particular 
voice  or  instrument  has  nothing  to  sing  or  play 
during  a  certain  movement  or  period. 

Takt  (Ger.)  (takt.)     Time,  measure,  beat. 

Tambourine.  A  small  drum,  very  shallow,  with 
a  single  head  of  parchment.  Around  the  narrow 
shell  are  metal  jingles.     It  is  beaten  by  the  hand. 

Tambourin  (Fr.)  (tanh-boo-ren.)  A  species  of 
dance  accompanied  by  the  tambourine;  also  a 
tambourine. 

Tam-tam.     The  gong. 

Tdnto  (It.)  (fan-to.)  So  much,  as  much;  allegro 
non  tante,  not  so  quick;   not  too  quick, 

Tantum  ergo  (Lat.)  (tdn-tum  air-go.)  A  hymn 
sung  at  the  benediction  in  the  Roman  CathoUc 
service. 

Tanz  (Ger.)  (tants.)     A  dance. 

Tarantella  (It.)  (ta-riin-feZ-la.)  A  swift,  delirious 
Itahan  dance  in  |  time.  The  form  has  been 
adopted  by  many  composers,  for  piano  compo- 
sitions. 

Tardamente  (It.)  (tar-da-men-t6.)     Slowly. 

Tardo  (It.)  (far-do.)     Tardy,  slow. 

Tasto  solo  (It.)  (fas-to  so-lo.)  One  key  alone;  in 
organ,  or  pianoforte  music,  this  means  a  note 
without  harmony;  the  bass  notes  over  or  under 
which  it  is  written  are  not  to  be  accompaniee. 
with  chords. 

Te.    Si  'n  Tonic  Sol-fa. 

14i 


MUSIC   DICTIONARY 

Technic.  The  mechanical  skill  of  playing  or  of 
singing. 

Tedesca   (It.)    (tS-tZes-ka.)  ?  German:    dlla  tedesca, 

Tedesco    (It.)    {t&-des-ko.)  )  in  the   German  style. 

Te  Deum  laudamus  (Lat.)  (t6  dd-um  lou-da-miis.) 
We  praise  Thee,  0  God;  a  canticle,  or  hymn  of 
praise. 

Tell-tale.  A  movable  piece  of  metal,  bone,  or  ivory, 
attached  to  an  organ,  indicating  by  its  position 
the  amount  of  wind  supplied  by  the  bellows. 

Tema  (It.)  {tay-msi.)  A  theme,  or  subject;  a 
melody. 

Temperament.  The  division  of  the  octave  into 
twelve  equal  semi-tones,  in  defiance  of  the  law 
of  nature,  which  demands  a  different  proportion. 
The  introduction  of  equal  temperament  was  a 
modification  of  the  scale  of  nature  that  alone 
made  music  on  keyed  instruments  practicable. 
See  Pitch.  Consult  Pole's  "Philosophy  of  Mu- 
sic" and  Zahm's  "Sound  and  Music"  for  details 
of  temperament;  also  see  "Elson's  Music  Dic- 
tionary." 

Tempestoso  (It.)  (t6m-p6s-^o-zo.)  Tempestuous, 
stormy,  boisterous. 

Tempo  (It.)  (tem-po.)  The  Italian  word  for  time. 
Tempo  is  rather  loosely  defined  as  the  speed  of 
the  music,  but  it  ought  rather  to  be  regarded 
as  the  speed  of  the  rhythm,  the  rapidity  with 
which  the  natural  accents  follow  each  other. 
The  chief  terms  used  for  speed  are  (from  slowest 
to  quickest)  grave,  largo,  larghetto,  adagio,  lento, 
andante,  andantino,  moderato,  allegretto,  allegro, 
presto,  and  prestissimo.  The  words  for  tempo 
and  expression  are  usually  in  Italian,  although 
modern  German  and  French  composers  use  terms 
in  their  respective  languages.  A  tempo  means 
return  to  the  original  speed  after  a  temporary 
variation. 

Tempo  giusto  (It.)  (^ew-po  je-oos-to.)  In  just, 
exact  strict  time. 

Tempo  ordinario  (It.)  (tem-po  or-de-na-re-o.) 
Ordinary,  or  moderate  time. 

Tempo  primo  (It.)  {tem-p6  pre-mo.)  First,  or 
original  time;  after  an  entire  movement  has 
been  in  a  different  tempo. 

Tempo  rubato  (It.)  {tem-p6  roo-6d-to.)  Robbed  or 
stolen  time;  irregular  time;  meaning  a  slight 
.145 


MUSIC   DICTIONARY 

deviation  to  give  more  expression  by  retarding 
one  note,  and  quickening  another,  but  so  that 
the  time  of  each  measure  is  not  altered  as  a  whole. 

Teneramente  (It.)  (te-n6-ra-wen-te.)  Tenderly, 
delicately. 

Tenerezza  (It.)  (t6-n5-rei-tsa.)  Tenderness,  soft- 
ness, delicacy. 

Tenor.  That  species  of  male  voice  next  above 
the  baritone,  and  extending  from  the  C  upon  the 
second  space  in  bass,  to  G  on  the  second  line  in 
the  treble.  So-called  from  teneo  (1  hold),  since 
it  held  the  melody  in  olden  times.  See  Soprano 
and  Voice.  Also  a  Sax-horn  of  same  pitch,  etc., 
as  Baritone,  but  of  smaller  bore  and  inferior  tone. 


m 


Tenor  C.      The  lowest  C  in  the  tenor 
voice;    the  lowest  string  of  the  viola, 
or  tenor  violin. 

Tenor  clef.  The  C  clef,  v.'hen  placed  upon  the 
fourth  line.     See  Clef. 

Tenore  di  grazia  (It.)  (te-no-rg  di  grd-tse-SL.)  A 
delicate  and  graceful  tenor  voice. 

Tenore  robusto  (It.)  {te-no-T&  i6-boos-to.)  A  strong 
tenor  voice. 

Tenor  trombone.     The  Bb  Trombone. 

Tenth.  An  interval  measuring  ten  diatonic  de- 
grees, also,  an  organ-stop  tuned  a  tenth  above 
the  diapasons,  called,  also,  decima  and  double 
tierce. 

Tenuto  (It.)  (ta-noo-to.)  Held  on;  sustained;  or 
kept  down  the  full  time. 

Ternary  form.     The  Rondo. 

Ternary  measure.     Threefold  measure;  triple  time. 

Terzetto  (It.)  {iHir-tset-io.)  A  short  piece,  or  trio, 
for  three  voices. 

Tessitura  (It.)  {les-se-too-rii.)  The  general  posi- 
tion, as  to  pitch,  of  the  tones  of  a  composition. 
A  work  with  many  high  tones  is  said  to  have  a 
"  high  tessitura." 

Tetrachord   (Gr.)    (tet-Ta-kord.)     A  perfect  fourth. 

Theme.  1.  A  subject,  in  the  development  of 
sonata-form.  2.  The  cantus  firmus  on  which 
counterpoint  is  built.  3.  The  subject  of  a  fugue. 
4.   A  simple  tune  on  which  variations  are  made. 

Thesis  (Gr!)  (tha-sis.)  Down-beat,  the  accented 
part  of  the  bar.     See  Arsis. 

Third.  An  interval  measuring  three  diatonic  de 
grees. 

146 


MUSIC   DICTIONARY 

Thirteenth.  An  interval  measuring  thirteen  dia- 
tonic degrees. 

Thirty-second  note.     A  demisemiquaver,   !^ 

Thirty-second   rest.     A   rest,    or   pause,    equal   to 

the  length  of  a  thirty-second  note,   "^ 

Thorough  bass.  Figured  bass;  a  system  of  har- 
mony which  is  indicated  by  a  figured  bass. 
WTien  there  is  no  figure,  it  is  understood  that  the 
common  chord  of  such  a  note  is  to  be  used  aa 
its  harmony.  It  is  a  species  of  musical  short- 
hand much  employed  in  the  eighteenth  century, 
when  it  was  often  customary  to  indicate  only  the 
bass  notes  of  an  accompaniment.  To-day  it  is 
chiefly  used  in  the  study  of  harmony.  The 
following  table  wiU  show  the  manner  in  which 
figures  are  used: 
The  figure  2  imphes  a  4th  and  6th. 

"       "      3       "       a  5th  perfect,  or  diminished, 
according  to  the  position  of  the  note  in  the  key. 
The  figure  4  implies  a  5th,  or  5th  and  8th. 
"      5       "  3d  and  8th. 

"       "      6       "  3d. 

"        "       7       "  5th  and  3d. 

"       "      8       "  3d  and  5th. 

"       "      9       "  3d  and  5th. 

A  stroke  through  a  figure  directs  the  raising  of 
the  interval  by  a  natural,  or  sharp,  as  the  case 
may  be.  An  accidental  standing  alone  implies 
a  corresponding  alteration  of  the  3d  of  the  chord. 
Horizontal  lines  direct  tlie  continuance  of  the 
harmony  of  the  previous  chord.  If  there  are  no 
figures  under  the  previous  chord,  the  line  or 
lines  direct  the  continuance  of  the  common  chord 
of  the  first  note  under  which  they  were  placed. 

Thumb-string.     Melody-string  of  the  banjo. 

Tie.  A  curved  line  used  to  connect  or  hind  two 
notes  of  the  same  pitch,  the  second  note  being 

.^  etc. 


only  a  continuation  of  the  first,  without  separate 
attack. 

147 


MUSIC   DICTIONARY 

Tief  (Ger.)  (tef.)     Deep,  low,  profound. 

Timbale  (Fr.)  (tanh-bal.)        I    ,  kettle-drum 

TimbaUo  (It.)  (tem-6aW6.)     (  ^  kettle-drum. 

Timbre  (Fr.)  (tS.nhbr.)     Quality  of  tone,  or  sound. 

Time.  The  measure  of  sounds  in  regard  to  their 
continuance,  or  duration.  The  speed  of  the 
rhythm.  The  rapidity  with  which  the  natural 
accents  follow  each  other.  This  is  the  coiTect 
meaning  of  time.  (See  Tempo.)  Neverthviless, 
an  almost  universal  custom  prevails  of  using 
the  word  time  to  express  the  division  of  the 
measure  as  well  as  the  speed.  Such  division 
should  properly  be  called  either  rhythm,  or  meas- 
ure. For  Time  Signature,  see  Signature.  Time 
is  classified  as  even,  triple,  and  peculiar.  Even 
times  are  those  where  the  measure  divides  nat- 
m-ally  into  halves.  When  the  measure  divides 
naturally  into  halves  or  quarters  and  each  of 
these  subdivisions  into  thirds,  the  result  is  com- 
pound even  time.  Triple  times  occur  when  the 
measure  divides  itself  naturally  into  thirds,  and 
compound  triple  rhythms  are  those  where  the 
measure  divides  into  thirds,  and  each  of  these 
thirds  again  subdivides  into  thirds.  Septuple 
or  quintuple  times  are  where  the  measure  divides 
into  fifths,  or  sevenths. 

Timoroso  (It.)  (te-mo-ro-zo.)  Timorous;  with 
hesitation. 

Timpani  (It.   pi.)    (fem-pa-ne.)     The  kettle-drums. 

Toccata  (It.)  (to-fca-ta.)  An  old  form  of  com- 
position for  the  organ,  or  pianoforte,  some- 
thing like  our  capriccio,  or  fantasia;  a  piece 
requiring  brilliant  execution,  the  toccata  was  a 
technical  work  (from  the  word  toccare,  to  touch), 
a  study  in  which  some  difficulties  of  execution 
were  always  present,  and  it  generally  preceded 
a  fugue.  In  modern  times  it  is  still  a  study,  but 
is  more  generally  founded  on  the  treatment  of  a 
single  figure. 

Toccatina  (It.)  (tok-ka-^e-na.)     A  short  toccdta. 

Tocsin.  An  alarm-bell;  ringing  of  a  bell  for  the 
purpose  of  alarm. 

Todesgesang  (Ger.)   (to-d^s-gh^-sang.)  )    .    ,. 

Todeslied  (Ger.)  {to-d&s-led.)  J  ^  ^^^S®'  * 

funeral  song. 

Todtenglockchen  (Ger.)  {tod-t'n-gldk-kh'n.)  Fu- 
neral bell. 

148 


MUSIC  DICTIONAKY 

Todtenlied    (Ger.)    {tod-Vn-led.)     Funeral  song,  or 

anthem. 
Todten-marsch    (Ger.)    (tod-Vn-mdrsh.)        Funeral 

march. 
Todten-musik     (Ger.)     (/od-t'n-moo-zik.)     Funeral 

music. 
Tolling.     The   act   of  ringing   a   church-bell  in   a 

slow,  measured  manner. 

ToS  [Ger' /Tt^:U  Tone,  sound,  voice,  key,  mode. 

See  Tone. 

Tonart  (Ger.)  (io-nart.)     Mode,  scale,  key. 

Tone.  A  given,  fixed  sound  of  certain  pitch. 
Sometimes  used  to  signify  a  certain  degree  of 
distance,  or  interval,  bet'sveen  two  sounds,  as 
in  the  major  tone  and  minor  tone,  whole  and 
semi-tone;  also  tbe  particular  quality  of  the 
sound  of  any  voice,  or  instrument. 

Tongue.  In  the  reed-pipe  of  an  organ,  a  thin  elastic 
shp  of  metal. 

Tonguing.  A  mode  of  articulating  quick  notes, 
used  by  flutists  and  cornetists. 

Tonic.  The  key-note  of  any  scale;  the  chief, 
fundamental  ground-tone,  or  first  note,  of  the 
scale. 

Tonic  Sol-fa.  A  method  of  teaching  vocal  music, 
invented  by  Miss  Sarah  Ann  Glover,  of  Nor- 
wich, England,  about  1812  (called  by  her  the 
tetrachordal  system),  and  afterwards  perfected  by 
the  Rev.  John  Curwen,  who  became  acquainted 
with  the  method  in  1841.  Its  formal  basis  is 
the  movable-do  system;  the  seven  usual  solmisa- 
tion  syllables  are  employed,  as  follows:  doh^ 
ray,  me,  fah,  soh,  lah,  te.  These  syllables  with 
modification  for  sharping  and  flatting,  are  used 
instead  of  notes.  See  **Elson's  Music  Dic- 
tionary." 

Ton-leiter  (Ger.)  (ton-ll-t^r.)     Scale. 

T6sto  (It.)  (tos-to.)     Quick,  swift,  rapid. 

Touch.  Style  of  striking,  or  pressing  the  keys  of 
an  organ,  pianoforte,  or  similar  instrument; 
the  resistance  made  to  the  fingers,  by  the  keys 
of  any  instrument,  as  hard,  or  heavy;  soft,  or 
light  touch. 

Toujours  (Fr.)  (too-zhoor.)     Always. 

Tranquillo  (It.)  (tran-gueeWo.)  Tranquillity,  calm- 
ness, quietness. 

Ida 


MUSIC   DICTIONARY 

Transcription.  An  arrangement  for  any  instrument, 
of  a  song  or  other  composition,  not  originally 
designed  for  that  instrument;   an  adaptation. 

Transition.  Passing  suddenly  out  of  one  key  into 
another,  also  a  passage  leading  from  one  theme 
to  another. 

Transposed.  Removed,  or  changed  into  another 
k?v. 

Transposer  (Fr.)  (tranhs-po-za.)  )  Chanffe  of 

Transponirsn  (Ger.)  {trans-po-nee-r&n.)  )  6^  "' 

key;  removing  a  piece  into  another  key. 

Transposing  Instruments.  The  most  natural  key, 
the  fundamental,  harmonically  and  technically 
on  all  instruments,  is  the  Keij  of  C.  When  the 
note  C  conceived  and  played  on  any  instrument 
actually  sounds  another  note  according  to  stand- 
ard pitch,  the  instrument  is  said  to  be  transposing. 
For  instance,  a  clarinet  that  in  playing  Middle 
C  sounds  the  Bb  below  is  a  transposing  instru- 
ment standing  in  Bb,  and  is  known  as  a  Bb 
clarinet;  C  played  on  an  E?  clarinet  would  sound 
Eb,  etc.  The  Contra-Bass  and  Contra-Bassoon, 
sounding  notes  a  full  octave  lower  than  written, 
and  the  Piccolo  or  Octave  Flute  sounding  them 
an  octave  higher  than  written,  are  in  a  way 
transposing  instruments.  The  definition,  how- 
ever, is  chiefly  confined  to  instruments  said  to 
be  in  any  other  key  than  C,  for  instance,  clari- 
nets in  A,  B'?,  E>;  trumoets  in  E,  El?,  Bb;  horns 
in  D,  El7,  F. 

Trascinando  (It.)  (tra-shi-/ia?i-do.)  Dragging  the 
time. 

Trattenuto.  (It.)  (trat-te-noo-tS.)  See  Ratten- 
uto. 

Traurig  (Ger.)  (trou-rig.)  Heavilv,  sadly,  mourn- 
fully. 

Tre  (It.)  (tray.)  Three';  d  tre,  for  three  voices, 
or  instruments. 

Treble.  The  upper  part;  the  highest  voice;  the 
soprano. 

Treble  clef.   ^   The  clef,  the  soprano  clef. 

«J 
Tre   corde    (It.)    (tray   kdr-d&.)     Three  strings;    in 
pianoforte  music  this  means  that  the  pedal  which 
moves  the  keys,  or  action,  the  soft  pedal,  must 
no  longer  be  pressed  down. 
150 


MUSIC   DICTIONARY 

Tremolo  (It.)  (^m-mo-lo.)  |  ^^^SJ  ^  ^^^^>  or 

chord,  reiterated  with  great  rapidity,  producing 
a  tremulous  effect. 

Tremolant.    /    An  organ  or  harmonium  stop  which 

Tremulant.  \  gives  to  the  tone  a  waving,  trem- 
bling, or  undulating  effect. 

Tres  (Fr.)  (tray.)     Very,  most. 

Triad.  Any  chord  consisting  of  a  root  with  its 
third  and  fifth  above. 

Triangle.  A  piece  of  steel  bent  into  triangle  form, 
yielding  a  clear  ringing  sound  when  struck.  It  is 
not  treated  as  an  instrument  of  definite  pitch. 

TriU  (Ger.,  TrUler;  Fr.,  Tnlle;  It.,  Trillo;  in  Eng- 
land, The  Shake.)  Two  adjacent  notes  alter- 
nating in  more  or  less  rapid  succession;  gen- 
erally a'jbreviated  as  to  notation  by  placing  the 
trill  sign  tr.-^^-^  over  one  of  the  notes,  indicating 
that  this  note  and  the  one  immediately  above  are 
to  be  alternated  to  the  time  value  of  the  given 
note.  The  trill  may  begin  on  either  of  the  two 
notes  and  is  generally  terminated  by  a  Turn. 
See  "  Elson's  Music  Dictionary." 

Triller  (Ger.)  (i^iMer.)  I  .    ,    ,  .  .,, 

Traio  (It.)  {tree-\o.)      \  ^^  ^^^"^'  ^  ^^^• 

Trio  (It.)  (tree-o.)  A  composition  for  three  voices 
or  instruments,  or  the  group  of  performers. 
The  term  Trio  is  also  applied  to  a  contrasting 
movement  in  compositions  like  the  minuet, 
march,  gavotte,  etc. 

Triole  (Ger.)  {tree-d-\&.)    /   A    triplet;     a    group    of 

Triolet  (Fr.)  (tree-o-la.)  )  three  notes  to  be  played 
in  the  time  of  two. 

Trionfale  (It.)  (tre-on-/a-l6.)     Triumphal. 

Triplet.  A  group  of  three  notes  played  in  the 
usual  time  of  two  similar  ones. 

Tristezza  (It.)  (tris-/ei-sa.)  Sadness,  heaviness, 
pensiveness. 

Tritone  (Eng.)  (tri-ton.)  A  super- 
fluous, or  augmented  fourth,  con- 
taining three  whole  steps. 

Trochee  (Lat.)  (tro-ka.)  A  dissyllabic  musical 
foot,  containing  one  long  and  one  short  syl- 
lable, —  ^ 

Yromba  (It.)  (from-ba.)  A  trumpet;  also  an  8- 
foot  reed  organ-stop. 

151 


MUSIC   DICTIONARY 

Trombone.  (Ger.,  Posaune,  It.  and  Fr.,  Trorm 
bono.)  A  wind  instrument  consisting  of  a  metal 
tube,  bent  to  convenient  length  and  terminat- 
ing in  a  flaring  bell.  The  distinguishing  feature 
is  a  double  slide  which  can  be  adjusted  in  seven 
"  positions  "  at  will.  Each  "  position  "  yields 
a  fundamental  note  and  its  harmonics,  the 
seven  "  positions  "  cover  a  chromatic  scale  of 
two  and  a  half  octaves  with  a  few  good  Pedal 
notes.  ' 

There  is  one  form  of  trombone  made  with 
valves  or  pistons,  but  while  easier  to  play  it  is 
generally  of  faulty  intonation  and  lacks  the 
nobility  of  tone  characteristic  of  the  trom- 
bone proper.  Trombones  are  classified  as  Alto, 
Tenor,  or  Bass,  according  to  their  pitch.  The 
ordinary  trombone  of  band  and  orchestra  is  the 
Tenor  (Bb)  with  a  compass  of  from  e  below  the 
bass  staff  to  about  the  2nd  h\>  above.  A  mouth- 
piece similar  to  that  of  trumpet  is  used. 

Tronco  (It.)  {tron-ko.)  An  indication  that  sounds 
are  to  be  cut  short. 

Troppo  (It.)  {trop-^o.)  Too  much;  non  troppo, 
not  too  much. 

Troubadours  (Fr.  pi.)  (troo-ba-doer.)  The  bards, 
and  poet-musicians  of  Provence,  and  of  North 
France,  about  the  twelfth  century.  See  Row- 
botham's  "  Troubadours  and  Courts  of  Love." 

Triib  (Ger.)  (treeb.)     Sad,  mournful,  gloomy. 

Tnmipet.  A  wind  mstrument  consisting  pri- 
marily of  a  metal  tube  bent  to  convenient  length, 
terminating  in  a  flaring  bell.  It  is  played  with 
a  cup-shaped  mouth-piece  and  gives  the  natural 
harmonics  of  a  fundamental  tone.  The  natural 
trumpet  (without  valves)  is  used  only  for  mih- 
tary  purposes  at  the  present  time.  The  trumpet 
of  orchestra  and  band  is  equipped  with  a  system 
of  cylindrical  or  piston  valves  (see  Valve)  on  the 
Sax  system,  yielding  a  chromatic  scale.  The 
tone  of  the  trumpet  is  brilliant,  cloar  and  of  great 
carrying  power.  The  ratio  between  width  of  bore 
and  length  of  tube  is  much  more  perfect  in 
the  trumpet  than  in  the  cornet,  an  instrument  of 
inferior  tone,  which  has  been  often  substituted 
for  it. 

The  compass  of  the  trumpet   is  from   "  g  '* 
below  the  treble  staff  to  "  g"  above,  sounding 
152 


MUSIC  DICTIONARY 

as  written  when  played  on  the  C  trumpet,  and 
being  proportionately  transposed  as  to  pitch 
when  played  on  the  trumpets  in  Bb,  G,  F  (low) 
D,  Eb,  F  (high),  etc. 

Tuba  (Lat.)  (too-ha,.)  The  name  applied  to  the 
deepest  Sax-horns.  The  tuba  is  made  in  dif- 
ferent pitches,  the  deepest  being  called  the  contra- 
bass (not  to  be  confounded  with  the  string  in- 
strument.) The  tuba  is  the  natural  bass  of  all 
brass  instruments  in  orchestra  or  band.  Also 
the  name  of  a  powerful  reed-stop  in  an  organ. 

Tuba  mirabilis  (Lat.)  (tu-ha,  me-m-be-lls.)  An 
8-foot  reed-stop,  on  a  high  pressure  of  wind  and 
powerful  tone. 

Tune.  An  air;  a  melody;  a  succession  of  mea- 
sured sounds,  agreeable  to  the  ear,  and  pos- 
sessing a  distinct  and  striking  character. 

Timing-fork.  A  small  steel  instrument,  having  two 
prongs,  which  upon  being  struck  gives  a  certain 
fixed  tone,  used  for  tuning  instruments,  and  for 
ascertaining  or  indicating  the  pitch  of  tunes. 
Also  the  act  of  raising  or  lowering  the  pitch  of 
a  string  or  instrument. 

Tuning-hammer.  A  steel,  or  iron  implement  used 
by  pianoforte  tuners. 

Timing-slide  >  A  device  applied  to  all  brass  in- 
struments, to  permit  of  the  pitch  being  ad- 
justed to  meet  special  requirement. 

Turca  (It.)  (ioor-ka.)  Turkish;  dlla  T'drca,  in  the 
style  of  Turkish  music. 

Turn.  An  embellishment  consisting  of  a  group 
of  rapid  notes  connecting  one  principal  note 
with  another,  also  used  to  terminate  the  triU. 
The  ordinary  turn  is  written  out  as  follows, 


^=Fib^r^ 


the  fii-st  and  last  notes  being  principal  notes. 
The  turn  is  generally  abbreviated  in  notation  by 
using  the  turn  sign  --«*'  placed  over  or  after  the 
first  principal  note.  There  are  many  kinds  of 
turns  in  use.     See  "  Elson's  Music  Dictionary." 

Tutta  forza  (It.)  (too-ta-/3r-tsa.)  )    rT^^^    „.. 

Tutta  la  forza  (It.)  (^oo-ta  la/or-tsa.)  (    ^^®   ^^^^* 
153 


MUSIC   DICTIONARY 

power,  as  loud  as  possible,  with  the  utmost  force 

and  vehemence. 
Tutti  (It.)  (^oo-te.)     All,  the  entire  band,  or  chorus; 

in  a  solo,   or  concerto,   it  means  that  the  full 

orchestra  is  to  resume  playing. 
Twelfth.     An    interval   measured   by   twelve   dia- 
tonic degrees.     Also  an  organ-stop  tuned  twelve 

notes  above  the  diapasons. 
Tympani  (It.  pi.)  (tem-pa-ne.)     Kettle-drums. 
Tyrolienne   (Fr.)   (te-ro-le-en.)     A  song,  or  dance, 

peculiar  to  the  Tyrolese. 


Uebermassig  (Ger.)  (u-h^T-mds-sig.)  Augmented, 
superfluous. 

Uebimg  (Ger.)  (n-boong.)  An  exercise;  a  study 
for  the  practice  of  some  peculiar  difficulty. 
Uebungsstuck;  an  exercise. 

TJguale  (It.)  (oo-gwd-le.)     Equal,  like,  similar. 

Ugualmente  (It.)  (oo-gwal-?rieri-te.)     Equally,  alike. 

Umfang  (Ger.)  (oom-fang.)     Compass,  extent. 

Umore  (It.)  (oo-??io-ray.)     Humor,  playfulness. 

Un  (It.)  (oon.)       ) 

Una  (It.)  (oo-na.)   \  A,  an,  one. 

Uno  (It.)  (oo-no.)  J 

Una  corda  (It.)  (oo-na  kdr-da,.)  One  string,  on 
one  string  only;  in  pianoforte-music  it  means 
that  the  soft  pedal  is  to  be  used.     See  Pedal. 

Unison.  A  unison  results  when  two  or  more  voices 
or  instruments  sound  precisely  the  same  note; 
also  when  two  or  more  voices  (theoretically) 
are  written  on  same  degree  of  staff.  A  body  of 
singers  or  instrumentalists  may  perform  an  entire 
phrase  or  melody  in  unison.  On  the  piano  three 
strings  twined  to  the  same  note  are  called  a  unison. 

Unter  (Ger.)  (oon-tev.)     Under,  below. 

Up  bow.     The  sign  V-     Used  in  violin,  etc.,  music. 

Ut  (Ft.)  (lit.)  The  note  C;  the  syllable  originally 
applied  by  Guido  to  the  note  C,  or  do. 


V.     An   abbreviation  for    Violin,    Volti,    (V.   S.  == 
volti  subito),  Voce  (m.  v.  =  mezza  voce.)     V°    or 
y^",  Violoncello;  V^ ,  Viola. 
154 


MTTSIC  DICTIONARY 

Va  (It.)  (v?5.)     Goon. 

Vaccilando  (It.)  (vat-tshe-/an-do.)  Wavering;  un- 
certain; irregular  in  the  time. 

Vago  (It.)  (yd-go.)  Vague;  rambling;  uncertain, 
as  to  the  time  or  expression. 

Valse  (Fr.)  (vals.)     A  waltz. 

Valve.  A  close  lid  or  other  contrivance  designed 
to  retard  or  modif}'  the  sound  of  an  organ-pipe, 
or  anj'  wind-instrument. 

On  brass  instruments  a  valve  is  inserted  in  the 
tube,  so  made  that  when  brought  into  action  tha 
air  column  is  admitted  to  an  additional  bit  of 
tubing  called  a  slide. 

Three  slides  of  varj^ing  length  and  valves  are 
generally  used.  The  first  valve-slide  lowering 
the  fundamental  and  its  series  of  harmonics  one 
step  (or  a  tone),  the  second  a  half-step  (semi- 
tone), and  the  third  a  step  and  a  half  (tone  and 
a  semitone).  In  combination  with  the  natural 
harmonics,  the  three  valves  produce  a  chromatic 
scale.  This  is  the  basic  principle  of  the  Saxhorn 
and  it  is  applied  with  certain  modifications  of 
valve  (piston  or  cylinder)  to  all  modern  brass  in- 
struments. 

Vamp.     To  improvise  an  accompaniment. 

Variations.  Repetitions  of  a  theme,  or  subject, 
in  new  and  varied  aspects,  the  form  or  outline 
of  the  composition  being  preserved  while  the 
different  passages  are  ornamented  and  amplified. 

Varsovieone.  (Fr.)  (var-s6-ve-cn.)  A  dance  in 
moderate  tempo,  and  f  time.  Named  after  War- 
saw, (Fr.)  Varsovie. 

Veemenza  (It.)  (va-me?^-tsa.)     Vehemence,  force. 

Velato  (It.)  (va-Za-to.)  Veiled;  a  voice  sounding 
as  if  it  were  covered  with  a  veil. 

Vellutato  (v61-loo-/^-to.)     In  a  velvety  manner. 

Veloce  (It.)  (vg-Zo-tshe.)     Swiftly. 

Velocissimo  (It.)  (ve-lo'tsMs-so-mo.)  Very  swiftly; 
with  extreme  rapidity. 

Velocita  (It.)   (v5-lo-tshe-^.)     Swiftness,  rapidity. 

Ventil  (Ger.)  (/^ttl.)       I  ^.^ 

Ventae  at.)  (v6n-^^lg.)    (  ^^^^^• 

Verschiebiing  (Ger.)  (f6r-s/iee-boong.)  The  soft 
pedal:  Mit  Verschiehung,  with  the  soft  pedal. 
See  Pedal. 

VersGhwindend  (Ger.)  (feT-shwind-ent.)  Vaniob" 
ing;  dying  away. 

165 


MUSIC   DICTIONARY 

Verse.  That  portion  of  an  anthem,  or  service, 
intended  to  be  sung  by  one  singer  to  each  part. 

Vespers.  Name  of  the  evening  service  in  the 
Roman  CathoHc  Church,  consisting  chiefly  of 
singing. 

Vezzoso  (It.)  (vet-^so-z6.)     Graceful,  sweet,  tender. 

Vibrato  (It.)  (ve-6ra-to.)  A  strong,  vibrating,  full 
quality  of  tone;  resonant. 

Vibration.  The  tremulous  or  undulatory  motion 
of  any  sonorous  body  (or  of  the  air)  by  which 
the  sound  is  produced,  the  sound  being  grave 
or  acute,  as  the  vibrations  are  fewer  or  more 
numerous  in  a  given  time. 

Viel  (Ger.)  (feel.)  Much;  a  great  deal;  viit  vielem 
tone,  with  much  tone. 

Vigoroso  (It.)  (ve-go-ro-zo.)  Vigorous,  bold,  en- 
ergetic. 

Viol.  An  old  instrument  somewhat  resembling  the 
violin,  of  which  it  was  the  origin;  but  having 
six  strings  and  fretted  finger-board.  It  was 
played  with  a  bow. 

Vi61a.  The  tenor-violin;  an  instrument  similar 
in  tone  and  formation  to  the  violin,  but  larger 
in  size  and  hav^'ng  a  compass  a  fifth  lower.  It 
is  notated  in  <  yi  <='  -^   the  alto  clef, 


and    its    four  fM  —  -I  strings 

tuned  thus:  -?=r~^ 

Its  compass  in  orchestral  use  is  about  as  fol- 
lows: 


U^ 


$ 


Viol,  bass.  The  violoncello,  or  small  Double-bass. 
Obsolete  term. 

Viola  d'amore  (It.)  (ve-o-la  da-mo-rg.)  An  instru- 
ment a  little  larger  than  the  viola,  furnished  with 
frets,  and  a  greater  number  of  strings,  seven 
above  the  finger-board,  and  seven  below.  The 
name  is  also  given  to  an  organ-stop  of  similar 
quality  to  the  gamba,  or  salcionaL 

Violent©  (It.)  (ve-o-Zen-to.)  Violent,  vehement, 
boisterous. 

Violin.  A  well-known  stringed  instrument.  It 
is  the  most  perfect  musical  instrument  known, 
of  brilliant  tone  and  capable  of  every  variety 
156 


MUSIC  DICTIONARY 
of    expression.     The    violin    has    four    strings, 
tuned  as  follows: 


tw^^^ 


The  ordinary  orchestral  compass  of  the  violin 
8va.... 

is  about 


i 


EJ 


The    soloist    can    play 


nearly  an  octave  higher.  At  times  the  bow  of 
the  violin  is  discarded  and  the  instrument  plucked 
like  a  guitar;  this  mode  of  playing  is  called 
pizzicato.     See  Stoeving's  "The  Violin." 

Violinbogen  (Ger.)  (fee-o-Z^erj-bo-g'n.)  A  violin- 
bow, 

Violine  (Ger.)  (fee-6-Zeen-S.)  An  organ-stop  of 
8,  4,  or  2-foot  tone. 

Violoncello  (It.)  (ve-o-l6n-^c/2.eZ-lo.)  The  large  or 
bass  violin.  The  violoncello  is  as  expressive  as 
the  violin,  but  is  masculine  where  the  latter  is 
feminine,  having  a  broader,  richer  tone.  It  has 
four  strings,  tuned  as  follows, 


■m-- 


The  compass  of  the  instrument  is  about 


m 


Also  an  organ  stop. 

Violone  (It.)  (ve-o-Zo-n6.)  The  name  originally 
given  to  the  double-bass.  The  name  is  also  ap- 
plied to  an  open  wood-stop,  on  the  pedals  of 
an  organ. 

Virginal.  A  small  keyed  instrument,  supposed  to 
have  been  the  origin  of  the  spinet,  as  the  latter 
was  of  the  harpsichord. 

Virtuoso  (It.)  (ver-too-o-zo.)  A  skillful  performer 
upon  some  instrument. 

Vitamente  (It.)  {ve-ta.~men-t&.)  Quickly,  swiftly, 
briskly,  immediately. 

vi™TlU  (UTsr"'-^ }  Animated,  lively,  briskly. 

167 


MUSIC  tJlCTIONARY 

Vocal.     Belonging,  or  relating  to  the  human  voice. 

Vocalise  (Fr.)  (v6-ka-leez.)  A  vocal  exercise  using 
vowel  sounds. 

Vocalize.  To  practice  vocal  exercises,  using  vowel 
sounds  (generally  Italian)  instead  of  words,  to 
develop  tone  and  technic. 

Voce  (It.)  (vo-tshe.)     The  voice. 

Voice.  ^  The  sound  produced  by  the  vocal  organs 
in  singing  or  speaking.  The  singing  voice  is 
divided  into  six  classes  as  follows,  beginning  with 
the  lowest:  Bass,  Baritone  and  Tenor  (Men's 
Voices);  Alto,  Mezzo-Soprano  and  Soprano 
(Women's  Voices).  The  so-called  unchanged 
voices  of  young  boys  also  embrace  Alto  and 
Soprano.  In  former  times  a  very  high,  head 
voice  in  men  was  called  Alto.  See  Chest-voice  and 
Head-voice.  The  word  is  also  applied  to  a  "  part " 
in  harmonic  writing. 

Voicing.  The  adjustment  of  the  parts  of  an  organ- 
pipe  for  the  purpose  of  giving  it  its  proper  pitch 
and  its  peculiar  character  of  sound. 

Voix  celestes  (Fr.)  (voo-wa  say-lest.)  Celestial 
voices;  an  organ-stop  of  French  invention.  Also, 
a  soft  stop  on  the  harmonium. 

Volata  (It.)  (vo-to-ta.)  A  flight;  run;  rapid  series 
of  notes;  a  roulade,  or  division. 

Voll  (Ger.)  (foil.)  Full;  mit  vollem  Werke,  with 
the  full  organ. 

Volonte  (Fr.)  (vo-lonh-^a.)  Will,  pleasure;  d 
volonte,  at  v/ill. 

Volta  (It.)  (yoZ-ta.)     Time. 

Volta  prima  (It.)  (yoZ-ta-pree-ma.)     First  time. 

Voltare  (It.)  (v6\-td-re.)     To  turn;     to  turn  over. 

Volta  seconda  (It.)  (yo^ta  s^-kon-da..)  The  sec- 
ond time. 

Volte  (It.)  (yoZ-tS.)   )   An  obsolete  dance  m  |  time, 

Volte  (Fr.)  (volt.)  S  resembling  the  galliard,  and 
with  a  rising  and  leaping  kind  of  motion. 

Volteggiando  (It.)  (vol-ted-je-a?i-d6.)  Crossing  the 
hands  on  the  pianoforte. 

Volti  (It.)  (vol-te.)     Tm-n  over. 

Voiti  subito  (It.)  (yo^te  soo-he-to.)  Turn  the  page 
over  quickly. 

Volubiiita  (It.)  (vo-loo-be-ie-^.)  Volubility;  free- 
dom of  performance. 

Volume.  The  (3,uantity  of  fullness  of  the  tone  of 
a  voice,  or  instrument. 

X58 


MUSIC  DICTIONARY 

Voluntary.  An  introductory  performance  upon  the 
organ,  either  extemporaneous,  or  otherwise. 

Von  (Ger.)  (fon.)     By,  of,  from,  on. 

Vorher  (Ger.)  (f6r-/icr.)  Before;  tempo  wie  vorher, 
the  time  as  before. 

Vorschlag  (Ger.)   (/or-shliig.)     Appoggiatura,  beat. 

Vorspiel  (Ger.)  (/or-speel.)  Prelude,  introductory 
movement. 

Vortrag  (Ger.)  (/or-trag.)  Execution,  mode  of  exe- 
cuting a  piece;  dehvery. 

Vox  humana  (Lat.)  (vox  hu-wa-na.)  Human 
voice;  an  organ  reed-stop  of  8-foot  tons,  in- 
tended to  imitate  the  human  voice. 


Y/ 

Wald-flote  (Ger.)  (vald-Ro-te.)  Forest-flute,  shep- 
herd's-fiute;  an  organ-stop  with  a  full  and  power- 
ful tone. 

Waldhom  (Ger.)  (yaZc^-horn.)  Foresl-horn;  ^  also, 
the  French  horn  in  its  natural  form,  without 
valves. 

Waitz.  Originally  a  round  dance  in  f  time.  The 
measure  has  also  been  adopted  in  a  form  or  move- 
ment in  instrumental  or  vocal  music.  The 
tempo  may  vary  from  slow  to  moderately  fast. 

Wehmiithig  (Ger.)  (va-ww-tig.)     Sad,  sorrowful. 

Weich  (Ger.)  (vikh.)     Soft,  gentle. 

Well-tempered.  A  term  applied  to  a  satisfactory 
pitch  relationship  of  sounds. 

Wenig  (Ger.)  (va-nig.)  Little;  an  xoenig  stark, 
a  little  strong;  rather  loud. 

Whole  not 3.     Asemibreve.     EZ^=1 


Whole  rest.  A  pause  equal  in  length  F 
to  a  whole  note,  or  to  a  whole  measure  in  E 
every  modern  rhythm  except  \. 

Whole  step.  A  major  second,  sometimes  called 
a  tone. 

Wind  chest.  An  air-tight  box  under  the  sound- 
board of  an  organ. 

Wind  instruments.  A  general  name  for  all  in- 
struments, the  sounds  of  which  are  produced 
by  the  breath,  or  by  the  wind  of  bellows. 

WoLf.    A  name  applied  to  an  impure  fifth,  which 
occHrs  in  pianofortes,  or  organs,  tuned  in  un- 
159 


MUSIC   DICTIONARY 

equal  temperament.  Also  a  discordant  sound 
produced  by  a  faulty  string  on  'cello,  etc. 

Wood  wind.  The  orchestral  wind-instruments 
which  are  made  of  wood. 

Wuchtig  (Ger.)  (vooch-tig.)  Weightily,  ponder- 
ously. 

Wiirdig  (Ger.)  (vur-dlg.)     Dignified. 

Wuth  (Ger.)  (voot.)     Madness,  rage. 


X 

Xylophone.  An  instrument  consisting  of  a  series 
of  graduated  wooden  bars  laid  on  straw,  and 
struck  witn  a  wooden  hammer.  The  scale  is  gen- 
erally hmited  to  about  two  octaves. 


Yobel  or  Jodel.  The  peculiar  high  warbling  of 
the  Swiss  and  Tyrolean  mountaineers,  in  which 
falsetto  tones  are  interspersed  with  chest-tones. 


Zart  (Ger.)  (tsart.)  )  Tenderly,  softly,  deli- 

Zartlich   (Ger.)  (tsa?r^-llkh.)  )      cately. 

Zeffiroso  (It.)  (zef-fe-ro-zo.)     Like  a  zephyr. 

Zelo  (It.)  (2a-lo.)     Zeal,  ardor,  energy. 

Zeloso  (It.)  (zd-ld-zo.)     Zealous,  ardent,  earnest. 

Ziemlich  (Ger.)  (fseem-likli.)  Tolerably,  mod- 
erately. 

Zierlich  (Ger.)  (tseer-lich.)     Neat,  graceful. 

Zingaresa  (It.)  (zin-ga-rd-za.)  In  the  style  of 
gypsy  music. 

Zither  (Ger.)  (tsit-^r.)  An  instrument  consisting 
of  a  shallow  wooden  sound-box,  across  which 
are  stretched  about  thirty  strings.  A  fretted 
finger-board  Ues  under  five  of  the  strings  which 
are  used  for  the  melody,  while  the  remainder  fur- 
nish the  accompaniment.  The  strings  are  gen- 
erally plucked  with  the  aid  of  a  thumb  ring,  al- 
though a  bow-zither  has  been  invented.  The 
tone  is  soft  and  sweet. 

Zogemd  (Ger.)  (^sd-ghgmd.)  A  continual  retard- 
ing of  the  time;   hesitating. 

Zu  (Ger.)  (tsoo.)     At,  by,  in,  to,  unto. 
160 


MUSIC  DICTIONARY 

Zunehmend  (Ger.)  (tsoo-wa-m6nd.)     Increasing. 

Zuriickhaltung  (Ger.)  (tsoo-ruk-hdl-toong.)  Re- 
tardation;  keeping  back. 

Z'tsammen  (Ger.)  (tsoo-mm-m'n.)     Together. 

Zwei  (Ger.)  (tvsi.)     Two. 

Zwischen-satz  (Ger.)  (fsye-shSn-satz.)  Intermedi- 
ate theme;  episode. 

Zwischen-spiel  (Ger.)  (<st;e-sh6n-speel.)  Interlude 
played  between  the  verses  of  a  hymn.  An 
Intermezzo. 


161 


NOTED   NAMES   IN  MUSIC 

There  has  been  no  attempt  to  include  the  many- 
famous  singers  and  artist  performers  who  might  be 
listed  under  such  a  heading  as  above.  This  list  is 
limited  chiefly  to  composers  and  authors  of  works 
on  music. 

Abt,  Franz.     Eileuburg,   1819;   Wiesbaden,   1885. 

Song  composer. 
Adam,  Adolphe-Charles.    Paris,  1803-1856.    Light 

operas. 
Adams,  Stephen.  Liverpool,  Eng.,  1844-1913.  (Real 

name,  Michael  Maybrick.)     Song  composer. 
Alard,  Jean-Delphin.    Bayonne,  1815;  Paris,  1888. 

Violinist  and  composer. 
Albeniz,  Isaac.     CamproJon,  Spain,  1861;  Cambo 

les  Bains,  France,  1909.  Pianist  and  composer. 
d' Albert,  Eugene.     Glasgow,    1884-1932.     Pianist 

and  composer. 
Alberti,  Domenico.      Eenice,  1707;   Fcrmio,   1740. 

Composer,    Invented  "Alberti  bass." 
iilbreclitsberger,  Jahann  Georg.    nr.  Vienna,  1736 ; 

Vienna,     1809.       Contrapuntist,    composer    and 

organist. 
Aletter,  Wilheim.    Germany,  1867-1934.    Composer. 
Alkan,  Charles-Kenri-Valentin.     Paris,  1813-1888. 

Pianist,  teacher  and  composer. 
Allitsen,  Frances.    Loudon,  1849-1912.   (Real  name, 

Mary  Frances  Bumpus.)     Composer. 
Ambrose,    Paul.      Hamilton,    Ont.,    Can.,    1868-     . 

Composer  and  organist. 
Ambrose,  Robert  Steele.     Chelmsford,  Eng.,  1824- 

1908,     Composer  and  organist. 
Ambrosio,  Alfred  d*.     Naples,   1871;   Nice,   1914. 

Composer  and  violinist, 
Arcadeit,    Jacob,      Netherlands,    about    1514 (?); 

Paris,  1570-5 (?).     Flemish  composer. 
Arditi,    Luigi.     Creseentino,    1822;    nr,    Brighton, 

Eng,,  1903.     Opera  conductor,  composer. 
Arenski,     Anton     Stepanovitch.      Nijni-Novgorod, 

1861;  Finland,  1906.     Russian  pianist  and  com- 
poser. 

162 


NOTED  NAMES  IN  MUSIC 

Arezzo  Guido  (see  Guido). 

Armstrong,    William   Dawson.     Alton,  111.,   1868- 

1936.    Composer. 
Ame,  Dr.  Thomas  Augustine.    London,  1710-1778. 

Composer. 
Artchiboucheff,  Nicholas  V.     Tsarskoe-Sielo,  1858- 

.     Eussian  pianist,  composer. 
d'Astorga,    Emmanuele,    Baron.     Palermo,    1681; 

Prague,  1736.     Church  composer. 
Auber,  Daniel-Frangois-Esprit.    Caen,  1782;  Paris, 

1871.     Opera  composer. 
Audran,  Edmond.     Lyons,  1842;  Tierceville,  1901. 

Composer  of  light  operas. 
Auiin,  Tor.     Stockholm,  Sweden,  1866-1914.    Vio- 
linist and  composer. 
Aus  der  Che,  Adeie.     Hanover,  1860-1937.   Pianist 

and  composer. 
Bach  family.      Noted  family  of  musicians.    From 

1550  to  1850.     (About  400  Bachs  are  recorded.) 
Bach,    ICarl    Philipp    Lmanuel.      Weimar,    1714; 

Hamburg,  1788.    Third  son  of  J.  S.  Bach.    Com- 
poser. 
Bach,  Johann  Sebastian.     Eisenach,  1685 ;  Leipzig, 

1750.      Composer. 
Backer-Grondahl,  Agatne.     Christiania,  1847-1908. 

Pianist  and  composer. 
Balakirev,    Milii    A.      Nijni-Novgorod,    1836;    St. 

Petersburg,   1910.     Russian  composer. 
Balfe,   Michael  William.     Dublin,   1S08;    Ro^^^^ey 

Abbey,  IS 70.     Opera  composer. 
Bantock,   Granville.      London,   1868-     .    Composer 

and  conductor. 
Bargiel,  Woldemar.     Berlin,  1828-1897.    Composer 

and  teacher. 
Bamby,  Sir  Joseph.     York,  1838;   London,  1896, 

Organist  and  composer. 
Bartlett,  Homer  N.     Olive,  N.  Y.,  1845;  Hoboken 

N.  J.,  1920.     Pianist  and  composer. 
Bartlett,  James  Carroll.     Harmony,  Maine,   1850 

1930.     Song  composer. 
Batiste,  Antoine  Edouard.    Paris,  1820-1876.     Or 

ganist  and  composer. 
Baumfelder,  Friedrich.    Dresden,  1836-1916.    Com. 

poser. 
Bax,  Arnold.     London,    1883-     .    Composer. 

163 


NOTED  NAMES  IN  MUSIC 

Beach,  Mrs.  H.  H.  A.     Henniker,  N.  H.,  1867- 
Pianist  and  composer. 

Beethoven,    Ludwig    var      Bonn,    1770;    Vienna, 
1827.     Composer. 

Behr,    Franz.     Lubtheen,     1837;    Dresden,    1898. 
Salon  composer. 

Bellini,   Vincenzo.      Catania,   Sicily,    1801;    Paris, 
1835.     Opera  composer. 

Bemberg,  Hermann.    Buenos  Ayres,  1861-     .  Opera 
and  song  composer. 

Bendel,     Franz.      Bohemia,     1833;     Berlin,    1874. 
Pianist  and  composer. 

Benedict,   Sir   Julius.      Stuttgart,    1804;    London, 
1885.     Composer. 

Bennett,  Sir  V/m.  Stemdale.    Sheffield,  1816 ;  Lon- 
don, 1875.     Composer. 

Benoit,  Pierre-Leonard-Leopold.    Harlebeke,  Flan- 
ders, 1834;  Antwerp,  1901.   Flemish  composer, 

Berger,  Wilhelm.  Boston,  1861;  Berlin,  1911.  Com- 
poser. 

Bergh,  Arthur.    St.  Paul,  Minn.,  1882-     .  Violinist, 
conductor  and  composer. 

Beriot,  Charles  de.    Louvain,  1802;  Brussels,  1870. 
Violinist  and  author. 

Berlioz,  Hector.     La  Cote  St.-Andre,  1803;  Paris, 
1869.     Composer  and  critic. 

Bertini,  Henri.    London,  1798;  nr.  Grenoble,  1876. 
Pianist  and  composer. 

Berwald,    William.     Schwerin,    Germany,    1864-     . 
Composer. 

Best,  Wm.  Thomas.    Carlisle,  1826;  London,  1897. 
Organist  and  composer. 

Bird,    Arthur.      Cambridge,    Mass.,    1856;    Berlin, 
1923.    Pianist  and  composer. 

Bischoff,  J.  W.     Chicago,  1850-1909.    Blind  com- 
poser. 

Bishop,    Sir   Henry   Rowley.     London,    1786-1855. 
Composer. 

Bizet,  Georges.  Paris,  1838;  Bongival,  1875.  Opera 
composer. 

Bliss,  Paul     Chicago,  1872;   Owego,  N.  Y.,  1933. 
Composer  and  editor. 

Bliss,  Peter  Paul.    Clearfield,  Pa.  1838-1876.  Hymn 
composer. 

164 


NOTED  NAMES  IN  MUSIC 

Bloch,  Ernest.  Geneva,  1880-  .  Composer  and  con- 
ductor. 

Blumenthal,  Jaques.  Hamburg,  1829;  London, 
1908.     Song  composer. 

Boccherini,  Luigi.  Lucca,  1740;  Madrid,  1806. 
Composer  and  cellist. 

Boellmann,  Leon.  Ensisheim,  1862;  Paris,  1897. 
Organist  and  composer. 

Bohm,  CarL  Berlin,  1844-1920.  Pianist  and  salon 
composer. 

Boieldiew,  Frangois-Adrien.  Rouen,  1775;  Jarcy, 
1834.     Opera  composer. 

Boito,  Arrigo.  Padua,  1842-1918,  Composer  and 
poet. 

Bononcini,  Giovanni.  Modena,  1660;  Venice  (?), 
1750 (?).    Opera  composer. 

Bomschein,  Franz  C.  Baltimore,  Md.,  1879-  . 
Composer. 

Boradin,  Alexander  P.  St.  Petersburg,  1834-1887. 
Composer. 

Borowski,  Felix.  Burton,  Eng.,  1872-  .  Com- 
poser and  violinist. 

Bortniansky,  Dimitri.  Gluchov,  1752;  St.  Peters- 
burg, 1825.     Composer. 

Bossi,  Marco  Enrico.  Brescia,  1861-1925.  Organist 
and  composer. 

Braga,  Gaetano.  Guilianova,  Abruzzi,  1829-1907. 
Cellist  and  composer. 

Brahms,  Johannes.  Hamburg,  ]?833;  Vienna,  1897. 
Composer. 

Branscombe,    Gena.      Picton,    Ont.,   Canada   . 

Composer. 

Brassin,  Louis  Aix-la-Chapelle,  1840;  St.  Peters- 
burg, 1884.     Pianist  and  composer. 

Bridge,  Sir  John  Frederick.  Oldburg,  1844-1924. 
English  organist  and  church  composer. 

Brockway,  Howard  A.  BrookljTi,  N.  Y.,  1870-  . 
Pianist  and  composer. 

Brounoff,  Platon.  Elizabethgrad,  Russia,  1869; 
New  York,  1924.    Composer. 

Browne,  J.  Lev/is.  London,  1864;  Chicago,  1933. 
Organist  and  composer. 

Bnich,  Max.     Cologne,  1838-1920.    Composer. 

Bruckner,  Anton.  Ansfelden,  1824;  Vienna,  1896. 
Symphonic  composer. 

165 


NOTED  NAMES  IN  MUSIC 

BruU,  Ignaz.  Moravia,  1846;  Vienna,  1907.  Pi- 
anist and  composer. 

Buck,  Dudley.  Hartford,  Conn.,  1839;  West 
Orange,  N.  J.,  1909.    Organist  and  composer. 

Bull,  Dr.  John.  Somersetshire,  1563;  Antwerp, 
1628.     Organist  and  composer. 

Bullard,  Frederic  Field.  Boston,  1864-1904.  Com- 
poser. 

Bulow;  Hans  von.  Dresden,  1830;  Cairo,  1894. 
Pianist,  conductor,  composer. 

Buonamici,  Guiseppe.  Florence,  1846-1920.  Pi- 
anist, conductor  and  editor. 

Burleigh,  Cecil.  Wyoming,  N.  Y.,  1885-  .  Com- 
poser and  violinist. 

Burleigh,  Harry  T.  Erie,  Pa.,  1867-  .  Negro 
composer  and  baritone. 

Burmeister,  Richard.  Hamburg,  1860-  .  Pianist 
and  composer. 

Busch,  Carl.  Bjerre,  Denmark,  1862-  .  Composer 
and  conductor. 

Busoni,  Feruccio  B.  Florence,  1866;  Berlin,  1924. 
Pianist  and  composer. 

Buztehude,  Dietricli.  Helsingor,  1G39;  Liibeck, 
1707.    Organist  and  composer. 

Byrd,  William.  London,  1538 (?) -1623.  Organist 
and  composer. 

Caccini,  Giulio.  Eome,  1558(f)  ;  Florence,  1615 (?). 
With  Peri,  he  wrote  the  first  operas. 

Cadman,  Charles  Wakefield.  Johnsto^^^l,  Pa.,  1881- 
.     Composer. 

Calldn,  John  Baptiste.  London,  1827-1905.  Or- 
ganist and  composer. 

Cambert;  Robert  Paris,  1628  (?);  London,  1677. 
First  French  opera  composer. 

Campbell-Tipton,  Louis.  Chicago,  1877-1921.  Com- 
poser. 

Candlyn,  T.  Frederick  H.  Pavenham,  England, 
1892-     .     Composer. 

Carissimi,  Giacomo.  Nr.  Eome,  1604;  Rome,  1674. 
Church  composer. 

Carl,  William  C.  Bloomfield,  N.  J.,  1865-1936. 
Organist   and   author. 

Carpenter,  John  Alden.  Park  Ridge,  111.,  1876-  . 
Composer. 

166 


NOTED  NAMES  IN  MUSIC 

Carreno,  Teresa.     Venezuela,   1853-1917.     Pianist 

and  composer. 
Chabrier,  Alexis  Emmanuel.     Aubert,  1841;  Paris, 

1894.     Composer. 
Chadwick,  George  Whitfield.    Lowell,  Mass.,  1854- 

1931.    Composer  and  organist. 
Chaminade,  Cecile.    Paris,  1861-     .    Composer. 
Charpentier,   Gustave.    Dieuze,  Lorraine,   1860-     . 

Composer. 
Chasins,  Abram.     New  York,  1903-     .     Composer. 
Chausson,  Ernest.    Paris,  1855;  Limaz,  1899.   Com- 
poser. 
Chei-ubini,    Luigi.    Florence,    1760;    Paris,    1842. 

Composer. 
Chopin^  Fr§d6ric.     Zelazowa- Wola,  Poland,  1809; 

Paris,  1849.    Pianist,  composer. 
Cimarosa,   Domenico.     nr.   Naples,    1749;    Venice, 

1801.     Composer. 
Clarke,  Hugh  A.     Toronto,  Can.,  1839;   Philadel- 
phia, 1927.     Composer  and  author. 
Clementi,  Muzio.    Rome,  1752;  London,  1832.    Pi- 
anist, teacher,  publisher  and  piano-maker. 
Clokey,   Joseph  W.     New  Albany,   Ind.,   1890      , 

Composer. 
Clough-Leighter,  H.    Washington,  D.  C,  1874-     , 

Composer. 
Coeme,  Louis  Adolf.     Newark,  N.  J.,  1870-1922. 

Composer. 
Coleridge-Taylor,     Samuel       London,     1875-1912. 

First  eminent  composer  of  African  descent. 
Concone,    Guiseppe.     Turin,    1810-1861.     Singing 

master  and  composer. 
Converse,   Frederick  S.     Newton,  Mass.,   1871-     . 

Composer. 
Cooke,  James  Francis.    Bay  City,  Mich.,  1875-     . 

Composer  and  editor. 
Coombs,  Charles  Whitney.  Bucksport,  Me.,  1859-     . 

Composer. 
Copland,  Aaron.     Brooklyn,  1900-     .    Com.poser. 
Corelli,  Arcangelo.     Fusignano,  Italy,  1653;  Rome, 

1713.     Violinist  and  composer. 
Cornelius,  Peter.    Mayence,  1824-1874.     Composer. 
Costa,  Sir  Michael     Naples,  1808;  Brighton,  188-4, 

Conductor  and  composer. 
Coaperin,  Frangois.     Paris,  1668-1733.    Composer. 

167 


NOTED  NAMES  IN  MUSIC 

Couperin,  Louis.  Paris,  1630-1665.  Composer  and 
violinist. 

Coverly,  Robert.  Oporto,  Portugal,  1863-  .  Com- 
poser. 

Cowen,  Frederic  Hymen.  Kingston,  Jamaica,  1852- 
1935.     English  composer. 

Cramer,  Johann  Baptist.  Mannheim,  1771;  Lon- 
don, 1858.     Pianist,  composer  and  teacher. 

Crist,  Bainbridge.  Lawrenceburg,  Ind.,  1883-  . 
Composer. 

Cui,  Cesar  Antonovitch.  Vilna,  1835-1918.  Rus- 
sian composer. 

Curwen,  Rev.  John.  Heckmondwike,  Eng.,  1816; 
nr,  Manchester,  1880.     Tonic  Sol-fa  system. 

Czemy,  Carl.  Vienna,  1791-1857.  Pianist,  teacher 
and   composer. 

Dalayrac,  Nicholas,  Murat,  Haute-Garonne,  1753- 
1809.     French  dramatic  composer. 

Dalcroze,  Emile  Jacques-.  Vienna,  1865-  .  Swiss 
composer  and  creator  of  system  of  "Eurhyth- 
mies." 

Damrosch,  Walter.  Breslau,  1862-  .  Conductor, 
composer. 

Dancla,  Charles.  Bagneres-de-Bigorre,  1818 ;  Tunis, 
1907.    Violinist  and  composer. 

Baquin,  Louis-Claude.  Paris,  1694-1772.  Clave- 
cinist  and  composer. 

Dargomizski,  Alexander  S.  Toula,  1813;  St. 
Petersburg,  1869.     Opera  composer. 

David,  Felicien.  Cadenet,  1810;  St.  Germain,  1876. 
French  composer. 

David,  Ferdinand.  Hamburg,  1810;  nr.  Klosters, 
1873.    Violinist,  teacher,  and  author. 

Davidov,  Charles.  Goldiugen,  1838;  Moscow,  1889. 
Cellist  and  composer. 

Debussy,  Achille  Claude.  St.  Germain-en-Laye, 
1862-1918.    Composer. 

Decreus,  Camille.  Paris,  1876-  .  Pianist,  teacher 
composer. 

DeFalla,  Manuel.  Cadiz,  Spain,  1877-  .  Com- 
poser. 

DeKoven,  Reginald.  Middletown,  Conn.,  1859- 
1920.     Composer. 

DeLeone,  Francesco  B.  Ravenna,  Oh>^,  1887-  • 
Composer. 

168 


NOTED  NAMES  IN  MUSIC 

Delibes,    L6o.     St.    Germain-du-Val,    1836;    Paris, 

1891.     Composer. 
De  risle,  Claude  Joseph  Rouget.      France,   1760- 

1836,    Composer  of  "La  Marseillaise." 
Delius,    Frederick.     Bradford,     Eng.,     1863-1934. 

Composer. 
Denude,  Charles  Frederick.   Oswego,  N.  Y.,  1863-     . 

Composer. 
Densmore,  John  Hopkins.    Somerville,  Mass.,  1880- 

.     Composer. 
Denza,  Luigi.     Castellmare  di  Stabbia,  1846-1922. 

Song  composer. 
Despres,  Joaquin.   Burgundy,  1450 (?) -1521.  Singer 

and  composer.     Eegarded  as  the  greatest  of  his 

period. 
Dett,  Robert  Nathaniel.     Canada,  1882-     .    Negro 

composer. 
Diabelli,  Antonio.      Mattsee,  1781;  Vienna,  1858, 

Composer. 
Diggle,   Roland.    London,   1885-     .    Organist   and 

composer. 
Dittersdorf,    Karl    Ditters    von.     Vienna,    1739; 

Eothlhotta,  1799.    Composer  and  violinist. 
Dohler,   Theodor.     Naples,   1814;    Florence,   1856. 

Pianist  and  composer. 
Dohnanyi,  Ernest  von.     Pressburg,  1877-     ,    Hun- 
garian pianist  and  composer. 
Donizetti,  Gaetano.     Bergamo,  1797 (?) -1848.    Op- 
era composer. 
Dom,    Heinrich    Ludwig    Egmont.      Konigsburg, 

1804;  Berlin,  1892.     Prolific  composer. 
Draeseke,  Felix.   Coburg,  1835-1913.  Composer  and 

teacher. 
Drdla,   Franz.     Moravia,    1868-     .    Composer   and 

violinist. 
Dreyschock,     Alexander.     Zack,    Bohemia,    1818; 

Venice,  1869.    Pianist  and  composer. 
Dubois,   Theodore.     Eosnay,   1837-1924.     Organist 

and  composer. 
Dufay,  Guillermus.   1400 (?) -1474.   Singer,  organist 

and  composer.  Father  of  the  Gallo-Belgic  school. 
Dukaa,  Paul    Paris,  1865-1935.    Composer. 
Dunham,  Henry  Mortan.     Mass.,   1853-1929.    Or- 
ganist and  composer. 

169 


NOTED  NAMES  IN  MUSIC 

Dunstable,  John,     Dtinstable  (?),  1400 (?);  Wal- 

brook,  1453.     English  composer. 

Dumi,  James  Philip.  New  York,  1884-1936.  Or- 
ganist and  composer. 

Duparc,  Kenri.     Paris,  1848-1933.     Composer. 

Dupont,  Augusts.    Belgium,  1827-1890.    Composer. 

Dupont,  Gabriel.     France,  1878-1914.    Composer. 

Durante,  Francesco.  Naples,  1GS4-1755.  Composed 
church  music  of  the  Neapolitan  School. 

Dussek,  Johann,  Bohemia,  1761;  St.  Germain-en- 
Laye,  1812.     Pianist  and  composer. 

Dvorak,  Antonin.  Miihlhausen,  1841 ;  Prague,  1904. 
Bohemian  composer. 

Eddy,  Clarer.ce.  Greenfield,  Mass.,  1851-1937.  Or- 
ganist and  author. 

Eggeling,   Georg.     Germany,   1866-     .     Composer. 

Ehrlich,  Alfred  Heinrich.  Vienna,  1822;  Berlin, 
1899.      PiaTust,   critic   and   litterateur. 

Eilenberg,  Richard.    Prussia,  184S-1927.  Composer. 

Elgar,  Sir  Edward.  Broadheath,  1857-1934.  Com- 
poser. 

Elson,  Arthur.     Boston,  1873-     .    Author. 

Elson,  Louis  C.  Boston,  1S4S-1927.  Critic  and 
litterateur. 

Elve-y,  Sir  George.  Canterbury,  1S16;  Windlesham, 
1893.     Organist  and  composer. 

Emery,  Stephen  A.  Paris,  :^.:e.,  1S41 ;  Boston,  1891. 
Theorist  and  composer. 

Enesco,  Georges.  Eoumania,  1881-  .  Violinist 
and  composer. 

Engelmann,  Kans.  Berlin,  1872;  Philadelphia, 
1914.     Prolific  composer 

Enna,  August.  Nakskov,  Denmark,  1860;  Copen- 
hagen, 1023.    Composer. 

Ernst,  Heinrich  Wilhelm.  Erunn,  1814;  Nice,  1865. 
Violinist  and  author. 

Ewing,  Montague.     England,  1890-     ,     Composer. 

Farjeon,  Harry.  Hohokus,  N.  Y.,  187S-  .  Com- 
poser. 

Farwell,  Arthur.  St.  Paul,  Minn.,  1872-  .  Com- 
poser. 

Faulkes,  William.  Liverpool,  1863-1933.  Organist 
and  composer. 

Faur^,  Gabriel  Urbain.  Pamiers,  1845-1924.  Com- 
poser. 

170 


NOTED  XAMES  IX  MUSIC 

Faure,  Jean  Baptiste.     Moulins,  1830-1914.    Bari- 
tone and  composer. 
Felton,  William  M.     Philadelphia,  1887-     .    Com- 
poser and  editor. 
Ferrari,  Gustave.     Geneva,  1S72-     .    Organist  and 

composer. 
Ferrata,  Giuseppi.     Gradoli,  Italy,  1865;  New  Or 

leans,  1928.    Composer. 
Fetis,    Francois-Joseph.      Mons,    1784;    Brussels 

1871.    Belgian  music  historian  and  litterateur. 
Fevrier,  Henri.    Paris-  1875-1932.    Composer. 
Fibich,   Zdenko.      Bohemia,    1850;    Prague,    1900 

Bohemian  composer. 
Field,  John-   Dublin,  1782;  Moscow,  1837.  Pianist 

composer.    Created  the  Nocturne. 
Fielitz,   Alexander  von.    Leipsic,   1860;    Bad  Sal 

zungen.  1930.    Composer. 
Finck,    Henry    T.      Bethel,    Mo.,    1S54;    Eumford 

Falls,  Maine,  1926.     Critic  and  litterateur. 
Finden,  Amy  Woodf  orde-.    Valparaiso,  Chile  (  f ) 

London,  1919.    Composer. 
Fiorillo,    Federigo.      Bruns^vick,    1753;    Paris  (?) 

1823  (?).     Violinist  and  composer. 
Fisher,   WiUiam   Arms.     San   Francisco,   1861- 

Composer  and  editor. 
Flagler,  Isaac   Van  Vleck.     Albany,  X.  Y.,  1844 

1909.     Organist  and  composer. 
Floerscheim,  Otto.  Aix-ia-Chapelle,  1853-1917.  Com 

poser  and  editor. 
Flotow,  Friedrich  van,    Mecklenburg,  1812;  Darm 

stadt,  1883.     Composer. 
Foerster,  Adolph  Martin.     Pittsburgh,  Pa.,  1854 

1927.     Composer. 
Foote,  Arthur  Wm.    Salem,  Mass.,  1853-1937.     Or 

ganist  and  composer. 
Forsytli,     Cecil.      Greenwich,     England,     1870- 

Composer. 

Faster,  Fay.    Leavenworth,  Kans., .  Composer 

Foster,  Miles  Birket.     London,  1851-1922.    Com 

poser. 
Faster,  Stephen  Collins.      Pittsburgh,  1826;  Xew 

York,   1864.     Song  composer. 
Fourdrain,  Felis.     Paris.  lSSO-1923.     Composer. 
Franchetti,  Alberto.     Turin,  1860-     .     Opera  com- 
poser. 

171 


NOTED  :N-AMES  IN  MUSIC 

Franck,  Cesar-Auguste.  Liege,  1822;  Paris,  1890. 
Composer. 

Franz,  Robert  (Knauth).  Halle,  1815-1892.  Song 
composer. 

Freed,  Isador.     Eussia,  1900-     .     Composer, 

Freer,  Eleanor  Everest.  Philadelphia,  1864-  . 
Composer. 

Frescabaldi,  Giralamo.  Ferrara,  1583 ;  Rome,  1644. 
Organist   and  composer. 

Friml,  Rudolf.     Prague,  1881-     .     Composer. 

Fuentes,  Eduardo  Sanchez  de.  Havana,  1874-  . 
Composer. 

Fumagalli,  Luca.    Italy,  1837-1908.    Composer. 

Gabrilowitsch,  Ossip  S.  St.  Petersburg,  1878; 
Detroit,  1936.  Pianist,  conductor,  and  com- 
poser. 

Gade,  Niels  Wilhelm.  Copenhagen,  1817-1890. 
Composer. 

Galloway,  Tod  Buchanan.  Columbus,  Ohio,  1863- 
1935.     Composer. 

Ganne,  Louis-Gaston.  Buxieres-les-Mines,  1862- 
1923.     Composer. 

Ganz,  Rudolph.  Zurich,  1877-  .  Pianist  and  com- 
poser. 

Gardner,  Samuel.  Elizabethgrad,  Russia,  1891-  . 
Violinist  and  composer. 

Gatty,  Alfred  Scott.  Ecclesfield,  England,  1847; 
London,  1919.     Composer. 

Gaul,  Alfred  Robert.  Norwich,  Eng.,  1837-1913. 
Composer. 

Gaul,  Harvey  Bartlett.  New  York,  1881-  .  Com- 
poser and  organist. 

Gaynor,  Jessie  Lovel.  Si;.  Louis,  1863-1921.  Com- 
poser and  educator. 

Geibel,  Adam.  Neuenheim,  Germany,  1855;  Phila- 
delphia, 1933.     Blind  composer. 

German,  Edward.  Whitchurch,  Eng.,  1862-1936. 
Composer. 

Gershwin,  George.  Brookljm,  1898-1937.  Composer. 

Gevaert,  Francois-Auguste.  Huyse,  1828;  Brus- 
sels, 1908.    Composer,  theorist,  music  historian. 

Gibbons,  Orlando.  Cambridge,  1583;  Canterbury, 
1625.    Composer. 

Gigout,  Eugene.  Nancy,  1844-1926.  Organist  and 
composer. 

172 


NOTED  NAMES  IN  MUSIC 

Gilbert,  Henry  F.    Somerville,  Mass.,  1868;   Cam- 
bridge, 1928.     Composer. 

Gilchrist,  Wm.  Wallace.   Jersey  City,  1846;  Easton, 
Pa.,  1916.     Composer. 

Gilman,  Lav/rence.    Flushing,  N.  Y.,  1878-     .    Lit- 
terateur. 

Giordani,  Giuseppe.     Naples,  1744;   Fermo,  1798. 
Composer. 

Giordano,  Umberto.    Foggia,  1867-     .   Opera  com- 
poser. 

Glazounov,  Alexander.    St.  Petersburg,  1865 ;  Paris, 
1936.    Composer. 

Glinka.    Michael    Ivanovich.     Novospaskoi,    1803; 
Bemn,  1857.     Composer. 

Gluck,  Christoph  Willibald  Ritter  von.     Weiden- 
wang,  1714;  Vienna,  1787.     Composer. 

Godard,    Benjamin.      Paris,    1849;    Cannes,    1895. 
Composer. 

Godowsky,  Leopold.     Wilna,  Euss,  Poland,  1870- 
1938.     Pianist  and  composer. 

Goetschius,     Percy.      Paterson,    N.    J.,    1853-     . 
Theorist  and  author. 

Goetz,   Hermann.     Konigsberg,  1840;   nr.  Ziirich, 
1876.     Composer. 

Goldmark,  Carl.     Hungary,  1830-1915.     Composer. 

Goldmark,   Rubin.      New  York,   1872-1936.     Com- 
poser. 

Goltermann,     Georg     Eduard.       Hanover,     1824; 
Frankfort-a-M.,  1898.     Cellist  and  composer. 

Gomes,  Antonio  Carlos.    Campinas,  Brazil,   1839; 
Para,  1896.     Opera  composer. 

Goodrich,   Alfred   John.     Chilo,   Ohio,    1848-1920. 
Theorist. 

Goossens,   Eugene.      London,   1893-     .     Composer 
and  conductor. 

Goss,  Sir  John.     Fareham,   Eng.,   1800;   London, 
1880.     Organist  and  composer. 

Gossec,  Frangois-Joseph.   Vergnies,  Belgium,  1734- 
1829.     Composer. 

Gottschalk,   Louis  Moreau.      New  Orleans,   1829; 
Eio  de  Janeiro,  1869.     Pianist  and  composer. 

Gounod,   Charles.    Paris,   1818-1893.     Opera   com- 
poser. 

Grainger,  Percy.    Australia,  1882-     .  Composer  and 
pianist. 

173 


NOTED  NAMES  IN  MUSIC 

Granadcs,  Enrique  Y  Campina.  Spain.  1867-1916. 
Composer. 

Grant-Schaefer,  George  Alfred.  Williamstown, 
Ont.,  1872-     .     Composer. 

Gretchaninov,  Alexander  Tichonovitch.  Moscow, 
1864-     .     Composer. 

Gretry,  A.  E.  M.  Liege,  1741 ;  Paris,  1813.  Opera 
composer. 

Grey,  Frank  Herbert.  Philadelphia,  1883-  .  Com- 
poser. 

Grieg,  Edvard  Hagerup.  Bergen,  1843 ;  Christiania, 
1907.     Norivegian  composer. 

Griff es,  Charles  T.  Elmira,  N.  Y.,  1884;  New 
York,  1920.     Composer. 

Grofe,  Ferde.     New  York,  1892-     .     Composer. 

Groton,  Frederic.  Pongateague,  Va.,  1880-  , 
Composer. 

Grove,  Sir  George.  Clapham,  Eng.,  1820;  London, 
1900.    Writer  on  music. 

Grovlez,  GabrieL  Lille,  France,  1879-  .  Com- 
poser. 

Grunn,  Homer.  West  Salem,  Wise,  1880-  .  Com- 
poser. 

Griitzmacher,  Friedrich.  Dessau,  1832;  Dresden, 
1903.  Composer  and  cellist. 

Guido  d'Arezzo.  Arezzo,  995(?);  Avellano, 
1050 (?).     Eeformer  of  music   notation. 

Guilmant,  Alexandre.  Boulogne,  1837-1911.  Or- 
ganist and  composer. 

Guion,  David  Wendel.  Ballinger,  Texas,  1895-  . 
Composer. 

Guiraud,  Ernest.  New  Orleans,  1837;  Paris,  1892. 
Composer. 

Gurlitt,  Cornelius.   Germany,  1820-1901.    Composer. 

Hadley,  Henry  K.  Somerville,  Mass.,  1871-1937. 
Composer. 

Hageman,  Richard.  Leenwarden,  Holland,  1882-  . 
Composer. 

Kahn,  Carl.  Indianapolis,  Ind.,  1874-1929.  Com- 
poser. 

Hahn,  Reynaldo.     Venezuela,  1874-     ,    Composer. 

Halevy,  J.  F.  F.  E.  Paris,  1799;  Nice,  1862. 
Opera  composer. 

Hall,  Robert  B.  Bowdoinham.  Mainc^  1859-1907. 
Composer  and  band  master, 

174 


NOTED  NAMES  IN  MUSIC 

Halvorsen,  Johann.    Norway,   1864-     .     ComposeT 

and  violinist. 
Hamblen,  Bernard.     England,  1877-     .    Composer, 
Hamilton,  Clarence  Grant.    Providence,  E.  I.,  1865- 

1935.     Editor  and  author. 
Hammond,  William  G.     Mellville,  L.  I.,  1874-     . 

Song  composer. 
Handel,    George   Frideric.     Halle,    1685;    London, 

1759.     Composer. 
Hanslick,   Eduard.     Prague,    1S25;    Vienna,   1904. 

Music  critic  and  litterateur. 
d'Hardelot,  Guy  (Real  name  Mrs.  W.  F.  Rhodes). 

nr.  Boulogne  sur  Mer  (?);  London,  1936.    Song 

composer. 
Harker,  F.  Flaxington.    Aberdeen,  Scotland,  1876; 

Eichmond,  Va.,  1936.     Composer. 
Harris,  Victor.     New  York,  1869-     ,     Song  com- 
poser. 
Hartmann,  Arthur.     Hungary,  1881-     .     Violinist 

and  composer. 
Hasse,    Johann     Adolph.      nr.    Hamburg,     1699; 

Venice,  1783.    Opera  composer. 
Hauptmann,     Moritz.      Dresden,     1792;     Leipzig, 

1868.     Composer  and  theorist. 
Hawkins,  Sir  John.   London,  1719-1789.   Music  his- 
torian. 
Hawley,  Charles  Beach.     Brookfield,  Conn.,  1858; 

E^d  Bank,  N.  J.,  1915.     Composer. 
Haydn,    Franz    Joseph.      Eohrau,    1732;    Vienna, 

1809.     Composer. 
Heins,  Carl.     Tangermunde,  1859-1922.    Composer. 
Heller,  Stephen.    Pesth,  1815;  Paris,  1888.   Pianist 

and  composer. 
Henderson,   Wm.   James.     Newark,  N.   J.,   1855; 

New  York,  1937.     Music  critic  and  litterateur. 
Henschel,  Georg.     Breslau,  1850;   Scotland,  1934. 

Composer,  singer  and  conductor. 
Henselt,  Adolf  von.     Bavaria,  1814;  Warmbrunn, 

Silesia,  1889.     Pianist  and  composer. 
Herbert,  Victor.     Dublin,  1859;  New  York,  1924. 

Composer  and  cellist* 
Herold,  Louis  J.  F.    Paris,  1791-1833.    Opera  com 

poser. 
Herz,  Henri.    Vienua,  1806;  Paris,  1888.    Pianiat 

and  composer. 

175 


NOTED  NAMES  IN  MUSIC 

Hesse,  Adolph  Friedrich.   Breslau,  1809-1863.    Or 

ganist  and  composer. 
Hildach,    Eugene.      Mittenberger,    1849;    Berlin 

1924.     Composer. 
Hillemacher,  Paul.     Paris,  1852;  Versailles,  1933 

Composer. 
Hiller,  Ferdinand  von.    Frankfort,  1811;  Cologne 

1885.     Composer. 
Hiller,  Paul.     Paris,  1853;   Cologne,  1934.    Bari 

tone  and  composer. 
Himmel,  Friedrich  Heinrich.     Brandenburg,  1765 

Berlin,  1814.     Composer. 
Hindemith,  Paul.     Hanou,  1895-     .    Composer. 
Hoffman,  Richard.     Manchester,  Eng.,  1831;   Mt 

Kisco,  N.  Y.,  1909.     Pianist  and  composer. 
Hofmann,  Heinrich.     Berlin,  1842;   Gross-Tabarz 

1902.     Composer. 
Hofmann,  Josef.     Cracow,  1877-     .     Pianist  and 

composer. 
HoUins,   Alfred.     Hull,  Eng.,   1865-     .     Organist 

(blind). 
Holmes,    Augusta    Mary    Ann.      (Irish    parents) 

Paris,  1847-1903.     Composer. 
Hoist,  Gustav  Theodore.     Cheltenham,  1874;  Lon- 
don, 1934.    Composer. 
Homer,  Sidney.     Boston,  1864-     .     Composer. 
Honegger,    Arthur.     Le    Havre,   France,    1892-     „ 

Composer. 
Hopekirk,    Helen.      Edinburgh,    1856-     .     Pianist 

and  composer. 
Hopkinson,  Francis.  Philadelphia,  1737-1791.  First 

American  composer. 
Horsman,  Edward.     Brooklyn,  1873-1918.     Comp. 
Hubay,  Jeno.  Budapest,  1858-1937.  Composer  and 

violinist. 
Huber,  Hang.    nr.  Olten,  Switz.,  1852-1921.    Comp. 
Hue,  Georges  A.     Versailles,  1858-     «     Composer. 
Huerter,  Charles.     Brooklyn,  1885-     .     Composer. 
Huhn,  Bruno.     London,  1871-     .     Composer. 
Hummel,    Johann    Nepomuk.       Pressburg,    1778; 

"Weimar,  1837.     Pianist  and  composer. 
Humperdinck,    Engelbert.      nr.    Bonn,    1854-1921. 

Composer. 
Huneker,  James  Gibbons.    Philadelphia,  1860-1921. 

Litterateur  and  critic. 

176 


/ 


NOTED  NAMES  IN  MUSIC 

HUnten,  Franz.    Koblenz,  1793-1878.    Composer. 

Huss,  Henry  Holden.  Newark,  N,  J.,  1862-  . 
Composer. 

Hutcheson,  Ernest.  Melbourne,  Australia,  1871-  . 
Pianist  and  educator. 

Hyatt,  Nathaniel  Irving.  Lansingburgh,  N.  Y., 
1865-     .      Composer. 

Iljinsky,  Alexander.  Eussia,  1859-1919.  Com- 
poser. 

d'Indy,  Vincent    Paris,  1851-1931.     Composer. 

Ippolitoff-Ivanoff,  Michael-Michaelovitch.  Gat- 
china,  1859-1935.     Composer. 

Ireland,  John,  Bowdon,  England.  1879-  .  Com- 
poser. 

Jadassohn,  Salomon,  Breslau,  1831;  Leipzig,  1902. 
Teacher  and  composer. 

Jaell,  Alfred.  Trieste,  1832;  Paris.  1882.  Pianist 
and  composer. 

James,  Philip.     Jersey  City,  1890-     .     Composer. 

Jensen,  Adolph.  Konigsberg,  1837;  Baden-Baden, 
1879.     Composer. 

Joachim,  Joseph,  nr.  Pressburg,  Hungary,  1831; 
Berlin,  1907.    Violinist. 

Johns,  Clayton.  Newcastle,  Del.,  1857-1932.  Pi- 
anist and  composer. 

Johnson,  Herbert.  Middletown,  Conn.,  1861:  Bos- 
ton, 1904.     Composer. 

Johnson,  J.  Rosamund.  Jacksonville,  Ela.,  1873-  . 
Negro  composer. 

Jommelli,  Nicola,  nr.  Naples,  1714-1774.  Com- 
poser. 

Jonas,  Alberto.  Madrid,  1868-  .  Pianist,  teacher 
and  author. 

Joseffy,  Rafael.  Hungary,  1853-1915.  Pianist  and 
editor. 

Josten,  Werner.  Elberfeld,  Germany,  1888-  . 
Composer. 

Juon,  Paul.    Moscow,  1872-     .    Composer. 

Kalkbrenner,  Friedrich  Wilhelm.  Germany,  1788; 
nr.  Paris,  1849.     Pianist  and  composer. 

Zarg-Elert,  Siegfried.  Obemdorf,  1879;  Leipzig, 
1933.     Organist  and  composer. 

Karganov,  Genari.  Caucasus,  1858-1890.  Russian 
composer. 

Kaun,  Hugo.    Berlin,  1863-1932.    Composer. 

177 


NOTED  NAMES  IN  MUSIC 

Kelley,  Edgar  Stillman.     Sparta,  Wisconsiiij  1857- 
.     Composer. 

Kern,  Carl  Wilhelm.  Schlitz,  Hesse-Darmstadt, 
1874-     .     Composer. 

Key,  Francis  Scott.  Frederick  Co.,  Md.,  1780; 
Washington,  D.  C,  1843.  Wrote  the  "Star  Span- 
gled Banner." 

Kiel,  Friedrich.  Puderbaeh,  1821;  Berlin,  1885. 
Composer. 

Kienzl,  Wilhelm.  Waizenkirchen,  Austria,  1857-  . 
Opera  composer. 

Kirchner,  Theodor.  Neukirchen,  1824;  Hamburg, 
1903.     Composer. 

Kjerulf,  Halfdan.  Christiania,  1818-1868.  Com- 
poser. 

Klein,  Bruno  Oscar.  Osnabriick,  1858 ;  New  York, 
1911.     Composer. 

Kleinmichel,  Richard.  Posen,  1846;  Charlottenberg, 
1901.     Pianist  and  composer. 

Klindworth,  Karl.  Hanover,  1830-1916.  Pianist, 
teacher  and  editor. 

Kneisel,  Franz.  Roumania,  1865-1923.  Violinist 
and  editor. 

Kocian,  Jaroslav.  Bohemia,  1884-  .  Violinist  and 
composer. 

Koelling,  Karl  W.  P.  Hamburg,  1831;  Chicago, 
1914.     Composer. 

Kohler  Louis.  Brunswick,  1820;  Konigsberg,  1886. 
Pianist  and  composer. 

Kontski,  Antoine  de.  Cracow,  1817;  Ivanitchi, 
1899.    Pianist  and  composer. 

Kopylow,  Alexander.  Petrograd,  1854-1911.  Com- 
poser. 

Komgold,  Erich  Wolfgang.  Moravia,  1897-  . 
Composer. 

Koschat,  Thomas.  Austria,  1845;  Vienna,  1914. 
Composer. 

Kotzschmar,  Hermann.  Finsterwald,  Germany, 
1829;  Portland,  Maine,  1909.     Composer. 

Kramer,  A.  Walter.  New  York,  1890-  .  Com- 
poser and  editor. 

Krehbiel,  Henry  Edward.  Ann  Arbor,  1854;  New 
York,  1923.     Critic  and  litterateur. 

Kreisler,  Fritz.  Vienna,  1875-  .  Violinist  and 
composer.     (Now  a  citizen  of  France.) 

178 


NOTED  NAMES  IN  MUSIC 

Krenek,  Ernst.     Vienna,  1900-     .     Composer. 
Kieutzer,  Conradin.  Mosskirch,  Baden,  1780;  Riga, 

1849.     Opera  composer. 
Kreutzer,     Rodolphe.     Versailles,     1766;     Geneva, 

1831.  Violinist  and  author. 

Kriens,  Christiaan.     Amsterdam,  1881;   Hartford, 

Conn.,  1934.     Composer. 
Kroeger,  Ernest  R.     St.  Louis,  1862-1934.   Pianist 

and  composer. 
Kubelik,  Jan.     nr.  Prague,  1880-     .    Violinist  and 

editor. 
Kiicken,  Friedrich   Wilhelm..     Bleckede,   Hanover 

1810;   Sehwerin,  1882.     Song  composer. 
Kuhs,  Wilhelm.  Prague,  1823;  London,  1912.   Com 

poser. 
Kuhlau,  Friedrich.     Hanover,   1786;    Copenhagen 

1832.  Composer. 

Kuhnau,    Johann.     Saxony,    1660;    Leipzig,    1722 
Composer. 

Kullak,  Theodor.     Posen,  1818;  Berlin,  1832.     Pi 
anist,  teacher  and  author. 

Kunkel,  Charles.    Sippersfield,  Germany,  1840;  St 
Louis,  1923.     Composer  and  publisher. 

Kursteiner,  Jean  Paul.     Catskill,  N.  Y.,  1864- 
Composer. 

Labitzky,    Joseph.      Czechoslovakia,    1802;    Karls 
bad,  1881.     Composer. 

Lachner,   Franz.      Eain,    Bavaria,    1804;    Munich 
1890.     Composer. 

Lack,  Theodore.  Quimper,  France,  1846-1921.   Com 
poser. 

LaForge,    Frank.     Eockford,   111.,    1879-     .    Com 
poser,  accompanist  and  teacher. 

Lalo,   Edouard.      Lille,    1823;    Paris,   1892.    Com- 
poser. 

Lambert,  Alexander.    Warsaw,  1862-1929.    Pianist 
and  author. 

Lang,    Benjamin    Jolinson.     Salem,    Mass.,    1837; 
Boston,  1909.     Pianist  and  conductor. 

Lang,  Henry  Albert.    New  Orleans,  1854;   Phila- 
delphia, 1930,     Composer. 

Lange,   Gustav.    Schwerstedt,   1830;   Wernigerode, 
1889.     Pianist  and  composer. 

Lanner,  Joseph.    Austria,  1801-1843.    Waltz  com- 
poser. 

179 


NOTED  NAMES  IN  MUSIC 

Lansing,  Abram  Winne.  Cohoes,  N.  Y.,  1861-1928. 
Composer. 

Lassen,  Eduard.  Copenhagen,  1830-1904.  Com- 
poser. 

Lasso,  Orlando  di.  Mons,  Belgium,  1520 (?);  Mun- 
ich, 1594 (?).    Composer. 

Laval6e,  Calixa.  Vercheres,  Canada,  1842;  Boston, 
1891.     Composer. 

Lavignac,  Albert.  Paris,  1846-1916.  Composer 
and  author. 

Lebert,  Sigmund.  Ludwigeburg,  Germany,  1822; 
Stuttgart,  1884.     Composer  and  author. 

Lecocq,  Charles.  Paris,  1832;  Guernsey,  England, 
1911.     Operetta  composer. 

LeCouppey,  Felix.     Paris,  1811-1887.    Composer. 

Lefebure-Wely,  Louis  J.  A.  Paris,  1817-1869.  Com- 
poser. 

Lehar,  Franz.  Komorn,  Hungary,  1870-  .  Com- 
poser of  light  operas. 

Lehman,  Evangeline.  Detroit,  Mich.-  .  Com- 
poser. 

Lehmann,  Liza  (Mrs.  Bedford).  London,  1862- 
1918.     Song  composer. 

Lemont,  Cedric  W.  Fredericton,  N.  B.,  Canada, 
1879-     .     Composer. 

Lekeu,  Guillaume.  Belgium,  1870;  Angers,  1894. 
Composer. 

Lemare,  Edwin  H.  Isle  of  Wight,  1865;  London, 
1934.     Organist  and  composer. 

Leonard,  Hubert,  nr.  Liege,  1819;  Paris,  1890. 
Violinist  and  teacher. 

Leoncavallo,  Ruggiero.  Naples,  1858-1919.  Opera 
composer^ 

Leroux,  Xavier.  Yelletri  (Papal  States),  1863; 
Paris,  1919.    Composer. 

Leschetizky,  Theodor.  Austrian  Poland,  1830-1915. 
Pianist,  teacher  and  author. 

Liadov,  Anatol.  St.  Petersburg,  1855-1914.  Com- 
poser. 

Lichner,  Heinrich.  Harpersdorf,  1829;  Breslan, 
1898.    Composer. 

Liebling,  Emil.  Pless,  Silesia,  1851;  Chicago,  1914. 
Pianist  and  composer. 

Lieurance,  Thurlow.  Oskaloosa,  Iowa,  1878-  • 
Composer. 

180 


NOTED  NAMES  IN  MUSIC 

Lincke,  Paul.     Berlin,  1866-     .    Composer. 

Liszt,  Franz.     Eaiding,  Hungary,  1811;  Bayreuth, 

1886.  Pianist  and  composer. 

Litolff,  Henry  Charles.  London,  1818;  Paris,  1891. 
Pianist,  composer  and  publisher. 

Locatelli,  Pietro.  Bergamo,  Italy,  1693;  Amster- 
dam, 1764.     Composer. 

Loeifler,  Charles  Martin.  Muhlhausen,  Alsatia, 
1861 ;  Medfield,  Mass.,  1935.  Violinist  and  com- 
poser. 

Loeschhom,  Albert.  Berlin,  1819-1905.  Pianist, 
composer  and  author. 

Loewe,  CarL  nr.  Halle,  1796;  Kiel,  1869.  Song 
and  ballad  composer. 

Loomis,  Harvey  Worthington.  Brooklyn,  1865; 
Boston,  1930.     Composer. 

Lortzing,  Albert.  Berlin,  1803-1851.  Opera  com- 
poser. 

Lotti,  Antonio.  Hanover (?),  1667;  Venice,  1740. 
Organist  and  composer. 

Low,  Joseph.     Prague,  1834-1886.     Composer. 

LuUy,  Jean-Baptiste.  Florence,  1633;  Paris,  1687. 
Opera   composer. 

Lynes,  Frank.  Cambridge,  Mass.,  1858-1914.  Com- 
poser. 

Lvoff,  Alexis  von.  Eeval,  Russia,  1799;  Kovno, 
1870.  Violinist  and  composer.  Wrote  "Russian 
Hymn." 

MacDowell,  Edward  Alexander.  New  York,  1861- 
1908.    Pianist  and  composer. 

MacFadyen,  Alexander.  Milwaukee,  Wis,,  1879-  . 
Composer. 

MacFarlane,  William  Charles.  London,  1870-  . 
Composer  and  organist. 

Macfarren,  Sir  George  Alexander.     London,  1813- 

1887.  Composer. 

Mackenzie,  Sir  Alex.  Campbell.    Edinburgh,  1847; 

London,  1935.    Scotch  composer. 
Mahler,  Gustav.    Kalescht,  Bohemia,  1860;  Vienna, 

1911.     Conductor  and  composer. 
Maier,  Guy.    Buffalo,  N.  Y.    Pianist  and  editor. 
Mailly,  Alphonse.     Brussels,   1833-1918.     Organist 

and  composer. 
Maitland,  Rollo.    Williamsport,  Pa.,  1884-     .  Com- 

po^er  -^nd  organist. 

181 


NOTED  NAMES  IN  MUSIC 

Malipiero,  G.  Francesco.  Venice,  1882-  .  Com- 
poser. 

Mana-Zucca.    b.  N.  Y.;  res.  Florida.    Composer. 

Manney,  Charles  Fonteyn,  Brooklyn,  N.  Y.,  1872-  , 
Composer. 

Mansfield,  Orlanda  Augustine.  England,  18G3- 
1936.     Composer  and  organist. 

Marchesi,  Mathilde.  Frankfort-a.-M.,  1826;  Lon- 
don, 1913.     Singing  teacher  and  author. 

laarks,  James  Christopher.  Cork,  Ireland,  1863-  , 
Composer. 

Marschner,  Keinrich.  Zittau,  Saxony,  1795;  Han- 
over, 1861.     Opera  composer. 

Marteau,  Henri.  Eheims,  1874;  Lichtenberg,  1934. 
Violinist  and  composer. 

Martini,  Giovanni  B.  (Padre  Martini).  Bologna, 
1706-1784.     Composer. 

Martucci,  Giuseppe.  Capua,  1856;  Naples,  1909. 
Composer. 

Marzo,  Eduardo.  Naples,  1852;  New  York,  1929. 
Composer. 

Mascagni,  Pietro.  Leghorn,  1863-  .  Opera  com- 
poser. 

Mason,  Daniel  Gregory.  Brookline,  Mass.,  1873-  , 
Litterateur  and  composer. 

Mason,  LowelL  Medfield,  Mass.,  1794;  Orange, 
N.  J.,  1872.     Pioneer  in  American  music. 

Mason,  William.  Boston,  1829;  New  York,  1908. 
Pianist  and  composer. 

Massenet,  Jules.  Monteaux,  1842;  Paris,  1912. 
Opera  composer. 

Mathews,  W.  S.  B.  New  London,  N.  H.,  1837; 
Denver,  1912.    Litterateur  and  educator. 

Matthews,  Harry  Alexander.  Cheltenham,  Eng- 
land, 1879-     .    Composer. 

McDonald,  Harl.  Boulder,  Colo.,  1899-  .  Com- 
poser. 

Medtner,  Nikolai.    Moscow,  1879-     .    Composer. 

M§hul,  Etienne-Nicolas.  Givet,  1763;  Paris,  1817. 
Opera  composer. 

Mendelssohn  (-Bartholdy),  Felix.  Hamburg,  1809; 
Leipzig,  1847.     Composer. 

Mercadante,  Saverio.  Altamura,  1795;  Naples, 
1870.    Opera  composer. 

182 


NOTED  NAMES  IN  MUSIC 

Merkel,    Gustav.      Saxony,    1827;    Dresden,   1885. 

Organist  and  composer. 

Messager,  Andre.     France,  1853-1929.     Composer. 

Meyerbeer,  Giacomo  (Jacob  Liebmann  Beer).  Ber- 
lin, 1791;  Paris,  1804.     Opera  composer. 

Meyer-Heimund,  Erik.  St.  Petersburg,  1861;  Ber- 
lin, 1932.     Composer. 

Meyer-Olbersleben,  Max.  Weimar,  1850-1927. 
Composer. 

Milhaud,  Darius.     France,  1892-     .    Composer. 

Mills,  Sebastian  Bach.  England,  1838 ;  Wiesbaden, 
1898.     Pianist  and  composer. 

Millocker,  Karl.  Vienna,  1842;  Baden,  1899.  Op- 
eretta composer. 

Mlynarski,  Emil.  Kibarty,  Poland,  1870;  Warsaw, 
1935.    Composer. 

Mokrejs,  John.  Cedar  Rapids,  Iowa  (?)  .  Com- 
poser. 

Molique,  Wilhelm  Bemhard.  Nuremberg,  1802; 
Kannstadt,  1869.    Violinist  and  composer. 

Montani,  Nicola  A.  Utica,  N.  Y.,  1880-_  .  Com- 
poser and  authority  on  Gregorian  music. 

Montemezzi,  Italo.  Verona,  Italy,  1875-  .  Opera 
composer. 

Monteverde,  Claudio.  Cremona,  1567;  Venice,  1643. 
Composer. 

Morley,  Thomas.  England,  1557  (?);  London, 
1604.     Composer  and  contrapuntist. 

Morrison,  Charles  Sumner.  Senacaville,  Ohio,  1860; 
Grand  Haven,  Mich.,  1933.     Composer. 

Moscheles,  Ignaz.  Prague,  1794;  Leipzig,  1870. 
Pianist,  teacher  and  author. 

Moszkowski,  Moritz.  Breslau,  1854;  Paris,  1925. 
Pianist  and  composer. 

Moussorgski,  Modest  Petrovitch.  Toropetz,  1839; 
St.  Petersburg,  1881.     Composer. 

Mozart,  Wolfgang  Amadeus.  Salzburg,  1756;  Vi- 
enna, 1791.     Composer. 

Musin,  Ovide.  Nandrin,  Belgium,  1854;  Brooklyn, 
1929.    Composer  and  violinist. 

Nachez,  Tivadar.  Budapest,  1859;  Lucerne,  1930. 
Composer  and  violinist. 

Napravnik,  Edward  Frantsovitch.  Bohemia,  1839- 
1915.    Composer. 

183 


NOTED  NAMES  IN  MUSIC 

Nardini,  Pietro.     Tuscany,  1729-1793.     Composer 
and  violinist. 

Navratil,  Karl.     Prague,  1867-     .     Composer. 

Neidlinger,    William    Harold.      Brooklyn,     1863; 
Orange,  N.  J.,  1924.    Composer. 

Nessler,  Victor  E.     Baldenheim,  1841;  Strassburg, 
1890.     Opera  composer. 

Nevin,  Arthur  Finley.     Edgeworth,  Pa.,  1871-    . 
Composer. 

Nevin,    Ethelbert.      nr.    Pittsburgh,    1862;    New 
Haven,  1901.    Composer. 

Nevin,  George  B.     Shippensburg,  Pa.,  1859;  Eas- 
ton,  1933.     Composer. 

Nevin,  Gordon  Balch.    Easton,  Pa.,  1892-    .    Com- 
poser and  organist. 

Newman,  Ernest.    Liverpool,  1869-    .    Author  and 
editor. 

Newmarch,     Rosa     Harriet.      England,     1857-    . 
Author. 

NichoUs,  Heller.     England,  1874-     .    Composer. 

NicGd6,    Jean-Louis,     nr.   Posen,    1853;    Dresden, 
1919.    Pianist  and  composer. 

Nicolai,    Otto.      Konigsberg,    1810;    Berlin,   1849. 
Opera  composer. 

Niemann,  Walter.    Hamburg,  1876-     .    Composer. 

Nin,  Joaquin.     Havana,  1883-     .     Composer. 

Noble,   Thomas    Tertius.      Bath,    1867.      English- 
American  composer  and  organist. 

Nordoff,  Paul.     Philadelphia,  1909-     .    Composer. 

Nordraak,    Rikard.      Christiania,     1842;     Berlin, 
1876.    Composer. 

Novello,  Vincent.    London,  1781;  Nice,  1861.  Com- 
poser and  publisher. 

Offenbach,  Jacques.     Cologne,  1819;   Paris,  1880. 
Creator  of  Opera  Bouffe. 

O'Hara,   Geoffrey.     Chatham,  Ont.,  Canada,    (?). 
Composer. 

Orem,    Preston   Ware.      Philadelphia,    1864-1938. 
Composer,  editor  and  author. 

Omstein,  Leo.  Krementchug,  Russia,  1895-    .  Comp. 

Orth,  John.  Annweiler,  1850 ;  Boston,  1932.   Comp. 

Pachulski,  Heinrich.     Russia,  1859-     .     Composer. 

Paderewski,  Ignaz  Jan.    Podolia,  Poland,  1859-     . 
Pianist  and  composer. 

184 


NOTED  NAMES  IK  MUSIO 

Paganini,  Niccolo.  Genoa,  1782 ;  Nice,  1840.  Vio- 
linist and  composer. 

Page,  N.  Clifford.  San  Francisco,  1866-  .  Com- 
poser and  editor. 

Paine,  John  Knowles.  Portland,  Me.,  1839;  Bos- 
ton, 1906,    Composer  and  teacher. 

Paisiello,  Giovanni.  Taranto,  1741;  Naples,  1816. 
Opera   composer. 

Paladilhe,  Emile.  Montpelier,  France,  1844;  Paris, 
1926.    Composer. 

Palestrina,  Giovanni  Perluigi  da.  Palestrina, 
1515(1)  ;  Eome,  1594.     Composer. 

Palmgren,  Selira.  Bjoneborg,  Finland,  1878-  , 
Composer. 

Panofka,  Heinrich.  Breslau,  1807;  Florence,  1887. 
Violinist,  singing  master  and  author. 

Panseron,  Auguste-Mathieu.  Paris,  1796-1859. 
Singing  master  and  author. 

Parker,  Horatio  W.  Auburndale,  Mass.,  1863; 
Cedarhurst,  N.  Y.,  1919.    Organist  and  composer. 

Parry,  Sir  Charles  Hubert  H.  Bournemouth,  Eng., 
1848;  Knightscroft,  1918.    Composer. 

Peery,  Rob  Roy.  Saga,  Japan,  1900-  .  Composer 
and  editor. 

Psrabo,  Ernst.  Wiesbaden,  1845;  Boston,  1920. 
Pianist  and  composer. 

Pergolesi,  Giovanni  Battista.  Jesi,  1710;  nr.  Na- 
ples, 1736.     Composer. 

Peri,  Jacopo.  Rome  (?),  1561;  Florence,  1633. 
The  first  opera  composer. 

Perosi,  Don  Lorenzo.    Tortona,  1872-     .    Composer. 

Perry,  Edward  Baxter.  Haverhill,  Mass.,  1855; 
Camden,  Maine,  1924.  Lecturer,  pianist  and 
author. 

Pessard,  Emile  L.  F.  Montmartre,  1843-1917.  Com- 
poser. 

Philipp,  Isidor.    Pesth,  1863-     .    Composer. 

Piccinni,  Nicola.  Bari,  1728;  nr.  Paris,  1800. 
Opera  composer. 

Pierne,  Gabriel.     Metz,  1863-1937.    Composer. 

Pinsuti,  Ciro,  Florence,  1829-1888.  Composer  and 
singing  teacher. 

Plaidy,  Louis.  Hubertsburg,  1810;  Grimma,  1874. 
Piano  teacher  and  author. 

185 


NOTED  NAMES  IN  MUSIC 

Flanquette,  Robert.     Paris,  1850-1903.     Operetta 

composer. 
Pleyel,  Ignaz-Joseph.    nr.  Vienna,  1757;  nr.  Paris, 

1831.     Composer  and  piano  maker. 
Poldini,  Eduard.    Pest,  1869-     .    Composer. 
Ponce,  Manuel  M.     Mexico,  1886-     .    Composer. 
Ponchielli,  Amilcare.     nr.  Cremona,  1834;  Milan, 

1886.     Opera  composer. 
Popper,  David.    Prague,  1843 ;  Baden  Baden,  1913. 

Cellist  and  composer. 
Porpora,  Nicole.     Naples,  1686-1766  (?).     Singing 

master. 
Poulenc,  Francis.    France,  1889-     .    Composer. 
Powell,  John.    Eichmond,  Va.,  1882-     .    Composer. 
Praetorius,  Michael     Thuringia,  1571-1621.    Com- 

poser. 
Pratt,  Waldo  S.     Philadelphia,  1857-     .     Littera- 
teur. 
Prokofieff,  Sergei.    S.  Eussia,  1891-     .    Composer. 
Protheroe,  Daniel.    So.  Wales,  1866;  Chicago,  1934. 

Composer. 
Prout,    Dr.    Ebenezer.      Northamptonshire,    Eng., 

1835;  London,  1909.    Theorist  and  composer. 
Puccini,    Giacomo.     Lucca,   1858;    Brussels,   1924. 

Opera  composer. 
Pugnani,   Gaetano.     Turin,  1731-1798.     Composer 

and  violinist. 
Purceli,  Henry.    London,  1658-1717  (?).    Composer, 
Quilter,     Roger.       Brighton,     England,     1877- 

Composer. 
Raabe,     Peter.      Frankfort    am     Oder,     1872- 

Composer. 
Rachmaninoff,     Sergei     V.       Novgorod,     1873- 

Pianist  and  composer. 
Radecke,  Robert.     Dittmansdorf,  1830;   Wernige 

rode,  1911.     Composer. 
Raff,  Joachim.     Lachen,  Switz.,  1822;  Frankfort, 

1882.     Composer. 
Rameau,  Jean-Philippe.    Dijon,  1683;  Paris,  1764. 

Opera  composer  and  theorist. 
Randegger,  Alberto.    Trieste,  1832;  London,  1911. 

Composer  and  singing  master. 
Rasbach,  Oscar.    Dayton,  Ky.,  1888-     .    Composer. 
Ravel,  Maurice.     Pyrenees,  1875-1937.     Composer. 

186 


NOTED  NAMES  IN  MUSIC 

Ravina,  Jean-Henri.    Bordeaux,  1818 ;  Paris,  1903, 

Composer. 
Rebikoff,  Vladimir  Ivanovitch.    Siberia,  1866-1920 

Composer. 
Reger,  Max.    Brand,  Bavaria,  1873;  Leipzig,  1916 

Composer. 
Reinecke,  Carl.    Altona,  1824;  Leipzig,  1910.    Com 

poser,  pianist  and  teacher. 
Respighi,   Ottorino.     Bologna,  1879;   Eome,  1936, 

Composer. 
Rheinberger,  Joseph.    Vaduz,  1837;  Munich,  1901 

Organist  and  composer. 
Rhene-Baton.    Calvados,  1879-     .    Composer. 
Richter,   Ernst   Friedrich.     Gross-Schonau,    1808 

Leipzig,  1879.    Theorist  and  composer. 
Richter,  Hans.     Eaab,  Hungary,  1843;  Bayreuth 

1916.    Conductor. 
Riemann,  Hugo.    nr.  Sondershausen,  1849;  Leipzig 

1919.     Theorist. 
Ries,  Franz.    Berlin,  1846 ;  Naumberg,  1932.    Com 

poser  and  publisher. 
Rimski-Korsakov,    Nicolai.      Tikhvin,    Novgorod 

1844-1908.    Composer  and  conductor. 
Rinck,    Johann,      Elgersburg,    1770;    Darmstadt, 

1846.     Organist  and  composer. 
Ringuet,  Leon.    Louiseville,  P.  Q.,  Canada,  1858 

Montreal,  1932.     Composer. 
Roberts,  John  Varley.  Stanningley,  England,  1841 

Oxford,  1920.    Composer  and  organist. 
Rode,  Pierre.    Bordeaux,  1774;  nr.  Damazon,  1830 

Violinist. 
Rogers,  James   H.     Fair  Haven,  Conn.,  1857- 

Organist  and  composer. 
Rolfe,  Walter.     Eumford,  Maine,  1880-     .     Com 

poser. 
Romberg,  Sigmund.    Hungary,  1887-     .    Composer 

of  light  operas. 
Ronald,  Landon.     (Eeal  name  L.  Eussell.)     Lon- 
don, 1873-1938.     Composer. 
Root,  Frederic  Woodman.    Boston,  1846;  Chicago, 

1916.     Composer. 
Root,   George    Frederick.     Sheffield,   Mass.,   1820; 

Bailey's  Island,  Maine,  1895.     Composer. 
Ropartz,  J.   Guy.     Guingamp,  France,   1864-1935. 

Composer. 

187 


NOTED  NAMES  IN  MUSIC 

Rosenthal,  Moriz.  Lemberg,  1862-  .  Pianist  and 
author. 

Rossini,  Gioacchino  Antonio.  Pesaro,  1792;  Paris, 
1868.     Opera  composer. 

Rotoli,  Augusto.  Rome,  1847;  Boston,  1904.  Com- 
poser. 

Rousseau,  Samuel  Alexandre.  Aisne,  1853;  Paris, 
1904.     Composer  and  organist. 

Rubinstein,  Anton.  Wechwotyneez,  1830;  St. 
Petersburg,  1894.     Composer  and  pianist. 

Russell,  Louis  Arthur.  Newark,  N.  J.,  1854-1925. 
Composer  and  author. 

Ryder,  Thomas  Philander.  Cohasset,  Mass.,  1836; 
Somerville,  Mass.,  1887.     Composer. 

Saar,  Louis  Victor.  Rotterdam,  1868;  St.  Louis, 
1937.     Composer. 

Sacchini,  Antonio  M.  G.  nr.  Naples,  1734;  Paris, 
1786.     Opera  composer. 

Saenger,  Gustav.  New  York,  1865-1935.  Composer 
and  editor. 

Safonoff,  Vassily  Ilyitcli.  Caucasus,  1852-1918. 
Composer  and  conductor. 

Saint-Saens,  Camille.  Paris,  1835-1921.  Organist, 
pianist  and  composer. 

Salieri,  Antonio.  Legnngo,  1750;  Vienna,  1825. 
Composer.     Teacher  of  Beethoven. 

Salter,  Mary  Turner.  Peoria,  111.,  1856-1938.  Com- 
poser. 

Salter,  Sumner.  Burlington,  Iowa,  1856-  .  Com- 
poser. 

Sammartini,  Giovanni  Battista.  Milan,  1700-1775. 
Composer. 

Sapelnikoff,  Vassily.     Odessa,  1868-     .    Composer. 

Sarasate,  Pablo  de.  Pamplona,  Spain,  1844;  Biar- 
ritz, 1908.     Violinist  and  composer. 

Sartorio,  Arnoldo.  Frankfort  am  Main,  1853-1936. 
Prolific  composer. 

Satie,  Erik.  Honfleur,  France,  1866-1925.  Com- 
poser. 

Sauer,  Emil.  Hamburg,  1862-  .  Pianist  and  com- 
poser. 

Sauret,  Emile.  Dun-Le-Roi,  1852;  London,  1920. 
Violinist  and  composer. 

Sawyer,  Henry  S.  New  York,  1864r  ,  Composer 
and  editor. 

188 


NOTED  NAMES  IN  MUSIC 

Scarlatti,  Alessandro.  Sicily,  1659;  Naples,  1725. 
Founder  of  Neapolitan  School  of  Opera. 

Scarlatti,  Domenico.  Naples,  1685-1757.  Com- 
poser. 

Scharwenka,  Philipp.    Posen,  1847;  Bad  Nauheim, 

1917.  Pianist  and  composer, 

Scharwenka,  Xaver.  Posen,  1850;  Berlin,  1924. 
Pianist  and  composer. 

Schelling,  Ernest.  Belvedere,  N.  J.,  1876-  .  Com- 
poser and  pianist. 

Schillings,  Max.  Dlireu,  1868;  Berlin,  1933.  Com- 
poser. 

Schindler,  Kurt.  Berlin,  1882;  New  York,  1935. 
Composer  and  editor. 

Schraitt,  Florent.     Prance,  1870-     .     Composer. 

Schonberg,  Arnold.     Vienna,   1874-     .     Composer. 

Schradieck,    Henry.      Hamburg,    1846;    Brooklyn, 

1918.  Violinist  and  author. 

Schubert,  Franz,  nr.  Vienna,  1797;  Vienna,  1828. 
Composer. 

Schuett,  Eduard.  St.  Petersburg,  1856;  Meran, 
Italy,  1933.    Composer  and  pianist. 

Schulhoff,  Julius.  Prague,  1825;  Berlin,  1898. 
Composer. 

Schumann,  Clara.  Leipzig,  1819;  Frankfort-a.-M., 
1896.  Pianist  and  composer.  (Wife  of  Eobert 
S.) 

Schumann,  Georg  Alfred.  Saxony,  1866-  .  Com- 
poser. 

Schumann,  Robert.  Zwickau,  1810;  nr.  Bonn,  1856. 
Composer. 

Schiitz,  Heinrich.  Kostritz,  1585;  Dresden,  1672. 
"Father  of  German  Music." 

Schytte,  Ludwig.  Aarhus,  Denmark,  1850;  Berlin, 
1909.    Pianist  and  composer. 

Scott,  Cyril  Meir.  Oxton,  Cheshire,  England, 
1879-     .    Composer. 

Scott,  John  Prindle.  Norwich,  N.  Y.,  1877;  Syra- 
cuse, 1932.     Composer. 

Scriabine,  Alexander.  Moscow,  1872-1915.  Pianist 
and  composer. 

Seeboeck,  William  Charles  Ernst.  Vienna,  1859; 
Chicago,  1907.    Composer. 

Seiss,  Isidor.  Dresden,  1840;  Cologne,  1905.  Pi- 
anist and  composer. 

189 


NOTED  NAMES  IN  MUSIC 

Selmer,  Johan.    Christiania,  Norway,  1844 ;  Venice, 

1910.  Composer. 

Sevcik,  Otakar.  Horazdowitz,  Bohemia,  1852; 
Pisek,  Bohemia,  1934.    Violinist  and  teacher. 

Sgambati,  Giovanni.  Eome,  1843-1914.  Pianist 
and  composer. 

Shakespeare,  William.  Croydon,  England,  1849; 
London,  1931.    Author  of  works  on  voice. 

Sharp,  Cecil  James.  London,  1859-1924.  Com- 
poser and  author. 

Shelley,  Harry  Rowe.  New  Haven,  1858-  . 
Composer. 

Sherwood,  Wm.  Hall.    Lyons,  N.  Y.,  1854;  Chicago, 

1911.  Pianist  and  composer. 
Shostakovitch,  Dmitri.    Leningrad,  Russia,  1906-     , 

Composer. 

Sibelius,  Jan.    Finland,  1865-     .    Composer. 

Sieber,  Ferdinand.  Vienna,  1822;  Berlin,  1895. 
Singing  master  and  author  of  vocal  methods. 

Sieveking,  Martinus.  Amsterdam,  1867-  .  Com- 
poser. 

Siloti,  Alexander.  Charkov,  1863-  .  Pianist  and 
composer. 

-Simonetti,  Achille.  Tuoni,  1857;  London,  1928. 
Composer  and  violinist. 

Sinding,  Christian.  Kongsberg,  Norway,  1856-  • 
Composer. 

Sitt,  Hans.  Prague,  1850;  Leipzig,  1922.  Violin- 
ist and  composer. 

Sivori,  Ernesto  Camillo.  Genoa,  1815-1894.  Vio- 
linist and  composer. 

Sjogren,  Emil.     Stockholm,  1853-1918.     Composer. 

Smart,  Henry.  London,  1813-1879.  Organist  and 
composer. 

Smetana,  Friedrich.  Bohemia,  1824;  Prague,  1884. 
Composer. 

Smith,  John  Stafford.  Gloucester,  1750;  London, 
1836.  Composer  of  "Anacreon  in  Heaven"  (Star 
Spangled  Banner). 

Smith,  Sydney.  Dorchester,  England,  1839;  Lon- 
don, 1889.     Composer  and  arranger. 

Smith,  Wilson  G.  Elyria,  O.,  1855;  Cleveland, 
1929.    Composer  and  pianist. 

Smyth,  Ethel  Mary.    London,  1858-     .    Composer. 

Sochting,  Emil.    Saxony,  1858-    .    Composer. 

190 


NOTED  NAMES  IN  MUSIO 

Sofermann,  August  Johan.    Stockholm,  1832-1876. 

Composer. 
Somervell,  Arthur.     Windermere,  England,   1863; 

London,  1937,     Composer. 
Sousa,   John   Philip.      Washington,   D.    C,    1856; 

Reading,  Pa.,  1932.     Bandmaster  and  composer, 
Sowerby,    Leo.      Grand    Eapids,    Mich.,    1895-     . 

Composer. 
Spalding,  Walter  Raymond.    Northampton,  Mass., 

1865-     .    Musicologist. 
Spaulding,  George  L.    Newburgh,  N.  Y.,  1861;  Eo- 

selle  Park,  N.  J.,  1921.    Prolific  composer. 
Speaks,   Oley.      Canal  Winchester,  Ohio,   1876-    , 

Composer. 
Spendiarov,  Alexander.    Eussia,  1871-1928.     Com- 
poser. 
Spindler,    Fritz.      Wiirzbach,    1817;    nr.   Dresden, 

1905.    Pianist  and  composer. 
Spohr,  Louis.    Bnins-udck,  1784;  Cassel,  1859.    Vio- 
linist and  composer. 
Spontini,   Gaspare.     Majolati,  1774-1851.     Opera 

composer. 
Spro5S,    Charles   Gilbert.     Poughkeepsie,   N.   Y., 

1874-     .     Composer  and  pianist. 
Stainer,  Sir  John.     London,  1840-1901.     Organist 

and  composer. 
Stcherbatcheff,     Nicolai     de.       Eussia,     1853-    . 

Composer. 
Steibelt,  Daniel.     Berlin,  1765;  Petrograd,  1823. 

Composer. 
Sternberg,  Constantin  von.    St.  Petersburg,  1852; 

Philadelphia,  1924.     Pianist  and  composer. 
Stewart,    Humphrey    John.      London,    1856;    San 

Diego,  Calif.,  1932.     Composer  and  organist. 
Still,  William  Grant.     WoodviUe,  Miss.,   1895-    . 

Negro  composer. 
Stojowski,  Sigismund.  Poland,  1870-     .    Composer 

and  pianist. 
Stokowski,  Leopold.    London,  1882-     .    Conductor. 
Stradella,   Alessandro.     Naples,   1645(f);    Genoa, 

1681  (?).    Composer. 
Strauss,  Johann  (Sr.).     Vienna,  1804-1849.     "Fa- 
ther of  the  Waltz." 
Strauss,    Johann.      Vienna,     1825-1899.      "Waltz 

King"  and  operetta  composer. 

191 


NOTED  NAMES  IN  MUSIO 

Strauss,  Oscar.  Vienna,  1870-  .  Composer  of 
light  opera. 

Strauss,  Richard.    Munich,  1864-     .    Composer. 

Stravinsky,  Igor  Fedorovitch.  Kussia,  1882-  . 
Composer. 

Streabbog,  L.  S.  (Jean-Louis  Gobbaerts).  Ant- 
werp, 1S35;   Brussels,  1886.     Prolific  composer. 

Strickland,  Lily.  Anderson,  S.  C,  (?)— .  Com- 
poser. 

Strube,  Gustav.  Ballenstedt,  1867-  .  Violinist 
and  composer. 

Stults,  Robert  Morrison.  Hightstown,  N.  J.,  1861; 
Kidley  Park,  Pa.,  1933.     Composer. 

Suk,  Josef.  Krecovic,  Bohemia,  1874;  Prague, 
1935.    Violinist  and  composer. 

Sullivan,  Sir  Arthur.  London,  1842-1900.  Ope- 
retta composer. 

Suppe,  Franz  von.  Dalmatia,  1820 ;  Vienna,  1895. 
Operetta  composer. 

Svendsen,  Johan  S.  Christiania,  1840;  London, 
1888.     Composer  and  violinist. 

Taneieff,  Sergei.    Eussia,  1S5G-1918.    Composer. 

Tansman,  Alexander.  Lodz,  Poland,  1897-  . 
Composer. 

Tartini,  Guiseppe.  Istria,  1692;  Padua,  1770. 
Violinist  and  composer. 

Tausig,  Carl.  Warsaw,  1841 ;  Leipzig,  1871.  Pian- 
ist and  composer. 

Taylor,  Deems.  New  York,  1885-  .  Composer 
and  critic. 

Tcherepnin,  Alexander.  St.  Petersburg,  1899-  , 
Composer. 

Tcherepnin,  Nikolai.  St.  Petersburg,  1873-  , 
Composer. 

Temple,  Hope  (Mme.  Andr6  Messager).  Dublin 
( ?)  ;  London,  1938.    Song  composer. 

Tenaglia,  Raifaelo.  Orsogna,  Italy,  1884-  , 
Composer. 

Terry,  Robert  Huntington.  Hudson,  N.  Y.,  1877-  . 
Composer. 

Thalberg,  Sigismund.  Geneva,  1812;  Naples,  1871. 
Pianist  and  composer. 

Thomas,  Ambroise.  Metz,  1811;  Paris,  1896. 
Opera  composer. 

192 


NOTED  NAMES  IN  MUSIO 

Thomas,  Arthur  Goring.     Sussex,   1850;  Loudon, 

1892.    Composer. 
Thome,    Francis.      Port   Louis,   Mauritius,    1850; 

Paris,  1909.     Composer, 
Titl,  Anton  Emil.    Moravia,  1809-1882.    Composer. 
Tombelle,  Fernand  d©  la.    Paris,  1854-1928.    Com- 
poser. 
Toscanini,    Arturo.     Parma,  1867-     .     Conductor. 
Topliff,   Robert.     London,    1793-1868.     Blind   or- 
ganist and  composer. 
Tosti,  F.  Paolo.    Ortona,  1846;  Eome,  1916.    Song 

composer. 
Tours,  Berthold.    Eotterdam,  1838;  London,  1897. 

Editor  and  author. 
Tozer,  John  Ferris.    Exeter,  1857-     .    Composer. 
Trotere,  H.     (Real  name   Henry  Trotter.)     Lon- 
don, 1855-1912.     Composer. 
Truette,  Everett  E.     Eockland,  Mass.,  1861-1933. 

Composer  and  organist. 
Tschaikovsky,  Peter   Iljitch.     Votinsk,   1840;    Si;. 

Petersburg,  1893.     Composer. 
Upton,  George  P.     Boston,   1835;  Chicago,  1919. 

Critic  and  litterateur. 
Vaccai,  Niccolo.     Tolentino,   1790;   Pesaro,   1848. 

Singing  master  and  author  of  vocal  method. 
Van  der  Stucken,  Frank.     Fredericksburg,  Texas, 

1858;  Hamburg,  1929.    Conductor  and  composer. 
Veracini,  Francesco  Maria.    Florence,  1685;  Pisa, 

1750.     Violinist  and  composer. 
Verdi,    Giuseppe.      Eoncole,    1813;    Milan,    1901. 

Opera  composer. 
Vieuxtemps,  Henri.    Verviers,  Belg.,  1820;  Algiers, 

1881.    Violinist  and  composer. 
Vilbac,  Alphonse  Charles  Renaud  de.    Montpellier, 

1829;  Brussels,  1884.    Composer. 
Viotti,  Giovanni  Battista.    Fontaneto  de  Po,  1753; 

London,  1824.     Violinist  and  composer. 
Vivaldi,  Antonio.     Venice,  1680-1743.     Composer. 
Vogrich,  Max.     Hermannstadt,  1852;   New  York, 

1916.     Composer. 
Volkmann,  Robert.      Saxony,   1815;    Pesth,   1883. 

Composer. 
Voss,   Charles.     Pomerania,   1815;    Verona,   1882, 

Composer. 
Wachs,  Paul.     Paris,  1851-1915.    Composer. 

193 


NOTED  NAMES  IN  MUSIC 

Wagner,  Richard.  Leipzig,  1813;  Venice,  1883. 
Dramatic  composer. 

Waldteufel,  Emil.  Strassburg,  1837;  Paris,  1915, 
Composer. 

Wallace,  Wm.  Vincent.  Waterford,  Ireland,  1814; 
France,  1865.     Composer. 

Warren,  Samuel  Prowse.  Montreal,  1841;  New 
York,  1915.     Organist  and  composer. 

Watts,  Winter.  Cincinnati,  Ohio,  1886-  .  Com- 
poser. 

Weber,  Carl  Maria  von.  Eutin,  1786;  London, 
1826.    Opera  composer. 

Weckerlin,  Jean  Baptiste  Theodore.  Alsatia,  1821 ; 
Trottberg,  1910.    Composer  and  author. 

Weelkes,  Thomas.  England,  1578-1623.    Composer. 

Weingartner,  Felix,  Dalmatia,  1863-  .  Conductor 
and  composer. 

Whiting,  Geo.  E.  Holliston,  Mass.,  1842;  Cam- 
bridge, Mass.,  1923.     Organist  and  composer. 

Widor,  Charles  Marie.  Lyons,  1845;  Paris,  1937. 
Composer  and  organist. 

Wieniawski,  Hand.  Poland,  1835;  Moscow,  1880. 
Violinist  and  composer. 

Wihtol,  Joseph.     Eussia,  1863-     .     Composer. 

V/ilhelm,  Carl.  Schmalkalden,  1815-1873.  Com- 
poser of  "Die  Wacht  am  Rhein." 

Wilhelmj,  August.  Nassau,  1845;  London,  1908. 
Violinist  and  composer. 

Willeby,  Charles.     Paris,  1865-     .     Composer. 

Wilm,  Nicolai  von.  Eiga,  1834;  Wiesbaden,  1911. 
Composer. 

Wilson,  Grenville  Dean.  Plymouth,  Conn.,  1833; 
Nyaek,  N.  Y.,  1897.    Composer. 

Wohlfahrt,  Heinrich.  Germany,  1797-1883.  Com- 
poser and  author. 

Wolf,  Hugo.  Windischgratz,  1860;  Vienna,  1903. 
Composer. 

Wolf-Ferrari,  Ermanno.  Venice,  1876-  .  Com- 
poser. 

WoUenhaupt,  Heinrich  Adolf,  nr.  Leipzig,  1827; 
New  York,  1863.     Pianist  and  composer. 

Wolstenholme,  Wm.  Blackburn,  Eng.,  1865-1931. 
Organist  and  composer   (blind). 

Wood,  Sir  Henry  J.  London,  1870-  .  Conductor 
and  composer. 

194: 


NOTED  NAMES  IN  MUSIC 

Woodman,     Raymond      Huntington.        Brooklyn, 

1861-     .     Composer. 

Woodward,  Herbert  HalL  England,  1847-1900. 
Composer, 

Work,  Henry  Clay.  Middletown,  Conn.,  1832; 
Zartford,  1884.     Composer. 

Wrangell,  Wassili  Georgevitch.  St.  Petersburg, 
18612-1901.    Composer. 

Wyman,  Addison  P.  Cornish,  N.  11.,  1832;  Wash- 
ington, Pa.,  1872.     Composer. 

Yradier,  Sebastian.     Spain,  1809-1885.     Composer. 

Ysaye,  Eugene.  Liege,  1858-1931.  Violinist  and 
composer. 

Zarlino,  Gioseffo.  Chioggia,  1517;  Venice,  1590. 
Theorist. 

Zichy,  Gesa.  Sztara,  Hungary,  1849-1924.  Left- 
hand  pianist.     Composer. 


195 


1877    020 


